SHAKESPfARE! 
AS  YOU 
LIKE  IT 


SHAKESPEARE'S 
AS    YOU   LIKE    IT 


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'^^^y^' 


wn,uAM 


SHAKESPEARE 


SHAKESPEARE'S 

AS   YOU   LIKE   IT 

EDITED  WITH    INTRODUCTION  AND  NOTES 
BY 

CHAELES  EGBERT  GASTON 

TEACHER   OF   ENGLISH,    RICHMOND   HILL   HIGH   SCHOOL, 
QUEENS   BOROUGH,   NEW  YORK  CITY 


THE    MACMILLAN    COMPANY 

LONDON:  MACMILLAN  &  CO.,  Ltd. 
1913 

AU  richU  }eserved 


COPYEIGHT,    1902, 

By  the  MACMILLAN  COMPANY. 


Set  up,    electrotyped,  and  published  September,  1902.     Reprinted 
February,  1904;  September,  1905;  July,  1906;  August,  1907  ;  May, 
1908;  January,  September,  1909  ;  August,  1910  ;  January,  October, 
1911  ;   February,  1913. 


SRLF 

PREFATORY  NOTE 

It  is  liard  to  reconcile  the  editorial  and  educational 
attitude  which  aims  to  stimulate  a  high  school  pupil 
to  enter  into  the  soul  of  a  great  drama,  grasj)  its  in- 
forming spirit,  and  "inhale  its  choral  atmosphere," 
with  the  attitude  which  would  urge  the  student  to 
grub  into  details  and  learn  the  exact  meaning,  etjmo- 
logically,  of  every  word.  An  attempt  is  made  in  the 
present  edition  to  avoid  the  two  extremes.  It  would 
be  deplorable  for  the  pupil  to  miss  the  charm  of  As 
You  Like  It ;  and  it  would  be  unpardonable  for  him 
to  miss  the  significance  of  many  Shakespearian  words 
found  in  the  play.  In  the  attempt  to  encourage  both 
sides  of  the  study,  reference  has  been  freely  made  to 
the  elements  of  dramatic  charm,  and  suggestions  have 
been  offered  for  the  detailed  study  of  meanings.  The 
editor  agrees  with  Dr.  Furnival  that  "while  every 
boy  can  look  out  hard  words  in  a  lexicon  for  himself, 
not  one  in  a  score  can,  unhelped,  catch  points  of  and 
realize  character."  In  the  notes  to  each  scene,  there- 
fore, will  be  found  grouped  together  words  which 
should  be  studied  from  the  dictionaries.     The  habit 


vi  PREFATORY  NOTE 

thus  inculcated  will,  it  is  thought,  prove  invaluable. 
On  the  other  hand,  notes  and  suggestions  regarding 
points  of  character  and  plot  and  comments  concerning 
the  play  as  a  drama  now  enjoyed  on  the  stage  have 
been  made  with  somewhat  lavish  hand.  In  the  Intro- 
duction the  section  on  the  stage  in  Shakespeare's  time 
has  also  been  inserted  for  the  purpose  of  emphasizing 
this  side  of  the  study  —  of  the  play  as  a  play.  With 
the  putting  of  due  emphasis  by  the  teacher  on  both 
the  form  and  the  spirit  of  As  You  Like  It,  the  class- 
room work  on  this  play  will  doubtless  be  of  unusual 
benefit  to  the  pupil. 

In  the  Bibliography  will  be  found  mention  of  the 
books  that  have  been  of  especial  use  in  the  prepara- 
tion of  this  edition.  The  text  has  been  studied  with 
care  and  will  be  found  to  agree  in  the  main  with  that 
of  the  Temple  Shakespeare.  For  convenience  in 
using  this  edition  with  others,  the  line  numbering  of 
the  best  editions  has  been  adopted. 

The  mark  °  after  a  word  in  the  text  of  the  play  in- 
dicates that  an  explanation  will  be  found  under  the 
proper  line,  scene,  and  act  in  the  Notes.  The  title, 
As  You  Like  It,  is  in  the  notes  abbreviated,  A.  Y.  L. 
The  references  to  Furness  are  to  his  monumentaj 
Variorum  edition  of  the  play. 


CONTENTS 


PAGB 

Prefatory  Note V 

Introduction  : 

William  Shakespeare  ..•••••       be 

Shakespeare's  Writings xxi 

The  Stage  in  Shakespeare's  Time        ....  xxix 

Lodge's  Bosalynde xxxvii 

Verse  Structure  in  As  You  Like  It     ,        •        .        .    xlvi 

Subjects  for  Composition liii 

Questions  on  the  Play Iviii 

Bibliography        .     •  .        .        »        •        •        .        .    Ixiv 

A.S  YOU  LIKE   IT 1 

Notes 123 


vii 


INTRODUCTION 


WILLIAM  SHAKESPEAEE 

The  life  of  William  Shakespeare  began  in  the  beau- 
tiful country  town  of  Stratford-on-Avon  and  ended 
fifty-two  years  later  on  the  same  day  at  the  same 
place.  During  the  interval,  however,  it  must  not  be 
supposed  that  the  dramatist  had  a  tranquil  pastoral 
existence  all  these  years  at  his  birthplace.  He  struck 
out  for  himself  in  the  largest  city  of  the  country,  Lon- 
don, and  spent  there  twenty -five  years  as  an  actor  and 
writer  of  plays,  gathering  fame  and  accumulating  suf- 
ficient property  to  enable  him  to  pass  the  last  years  of 
his  life  in  uninterrupted  calm  at  his  beloved  Stratford. 

Shakespeare  was  born  in  1564,  on  the  twenty-third 
of  April.  The  town  of  Stratford  was  then  a  place  of 
about  fifteen  hundred  inhabitants.  Since  then  it  has 
grown  but  little ;  it  now  boasts  a  population  of  not 
more  than  ten  thousand.  The  change  in  shaping  of 
streets,  in  sanitary  arrangements,  and  in  appearance 
of  buildings  has,  however,  been  great  since  the  poet's 


X  INTRODUCTION 

time.  The  house  in  Henley  Street  where  Shakespeare 
was  born  has  now  been  joined  with  another  which 
originally  stood  somewhat  to  the  west  of  it,  and  the 
two  thus  made  one  have  been  preserved  as  The  Birth- 
place. The  visitor  to  Stratford  finds  here  a  most  in- 
teresting collection  of  Shakespeare  mementoes.  Our 
own  Washington  Irving  in  one  of  his  Sketchbook 
papers  gives  a  delightful  picture  of  the  house  as  it 
was  in  his  time.  Though  there  has  been  considerable 
change  since  Irving's  day,  his  account  is  still  to  be 
recommended  as  a  bit  of  pleasant  reading.  Nowadays 
the  impression  brought  away  from  a  visit  to  The  Birth- 
place is  likely  to  be  particularly  vivid  because  of  the 
shilling  for  this  and  shilling  for  that  and  shilling 
for  all  attitude  of  the  caretakers.  The  first  home  of 
Shakespeare  will,  nevertheless,  always  be  a  favorite 
resort  for  travellers. 

Shakespeare's  father  was  a  dealer  in  wool,  malt, 
skins,  meat,  leather,  corn,  and  all  kinds  of  farm  prod- 
uce. Thus  in  some  biographies  he  is  called  a  butcher, 
in  others  a  glover,  in  others  a  drover.  By  his  wide 
field  of  trading  activity  he  might  be  called  one  or  all 
of  these.  He  became,  before  the  birth  of  his  son,  a 
man  of  prominence  in  the  village.  He  had  no  educa- 
tion, but  in  this  respect  did  not  differ  from  the  other 
villagers.  He  was  elected  by  his  townsmen  to  various 
positions,  such  as  alderman,  July  4,  1565,  and  three 


WILLIAM  SHAKESPEARE  xi 

years  later  bailiff,  the  highest  position  to  which  he 
could  be  chosen.  His  wife  was  Mary  Arden,  the 
daughter  of  a  prosperous  farmer  who  lived  not  far 
from  Stratford.  Two  daughters  preceded  the  boy 
\Villiam,  both  of  whom  died  in  infancy.  William 
was  christened  on  the  twenty-sixth  of  April,  1564. 
From  this,  it  is  conjectured  that  according  to  the  bap- 
tismal custom  of  the  time  he  must  have  been  born  on 
the  twenty-third  or  possibly  the  twenty-second  of  the 
same  month  and  year.  By  way  of  poking  fun  at  the 
Shakespearian  scholars  who  assert  positively  that 
Shakespeare  was  born  on  the  twenty-third,  Mr.  Sid- 
ney Lee  remarks  slyly  that  such  scholars  make  their 
dogmatic  statements  apparently  on  the  sole  basis  that 
William  Shakespeare  undoubtedly  died  on  the  twenty- 
third  and  hence  was  probably  born  on  the  same  day. 

Little  is  definitely  known  about  the  life  of  young 
Shakespeare  from  his  birth  to  his  twenty-second  year. 
By  most  authorities  it  is  inferred  that,  because  there 
was  a  grammar  school  in  Stratford  and  because  Shake- 
speare's father  was  in  fair  circumstances,  the  boy  Will- 
iam probably  attended  the  school.  It  is  thought  that 
he  was  a  pupil  till  1577  or  1578,  when  he  was  obliged 
to  leave  school  on  account  of  his  father's  financial  diffi- 
culties. His  father  continued  for  eight  or  nine  years 
after  the  birth  of  William  to  be  successful  in  business, 
but  then  was  forced  to  mortgage  his  property  piece  by 


xii  INTROD  UCTION 

piece  till  at  last,  because  of  the  danger  of  arrest  for 
debt,  he  feared  even  to  attend  the  G-uildhall  as  bailiff. 
While  at  school,  William  Shakespeare  learned  some- 
thing of  Latin,  and  perhaps  a  little  French  and  Greek. 
That  he  learned  at  school  any  language  besides  Eng- 
lish is  assumed  solely  from  the  fact  that  in  his  plays 
he  shows  familiarity  with  Latin  and  French,  and  from 
the  additional  fact  that  schoolboys  of  his  time  usually 
studied  Latin.  Aubrey,  quoted  by  Mr.  Lee  in  his 
recent  paper,  "  Shakespeare  in  Oral  Tradition,''  says 
that  the  boy  very  early  betrayed  signs  of  poetic 
genius. 

Greater  probably  than  the  educative  influence  of  the 
Grammar  School  on  the  boy  Shakespeare  was  the 
influence  upon  him  of  the  plays  presented  in 
Stratford  during  these  years.  In  the  course  of  ten 
years  or  so  at  this  period,  more  than  two  dozen  theat- 
ric companies  were  hospitably  entertained  at  Stratford. 
Shakespeare's  father,  the  bailiff,  officially  welcomed 
to  the  town  of  Stratford  the  Queen's  company  and  the 
Earl  of  Worcester's  company  of  actors.  The  talk  of 
the  villagers  regarding  these  companies  and  perhaps 
the  conversation  of  the  actors  themselves  gave  Shake- 
speare his  first  conception  of  a  play.  The  influence 
upon  William  Shakespeare  of  these  early  years  of  ac- 
quaintance with  the  drama  can  hardly  be  over-esti* 
mated. 


WILLIAM  SHAKESPEARE  Xlh 

Another  educative  influence  of  this  period  before  he 
went  to  London  was  the  surpassingly  beautiful  coun- 
try round  about  Stratford,  which  he  came  to  love  with 
all  his  soul.  Appreciating  the  influence  of  nature 
upon  the  great  dramatist,  Milton  wrote  in  L^ Allegro :  — 

"  Or  sweetest  Shakespeare,  Fancy's  child. 
Warble  his  native  wood -notes  wild." 

Through  all  his  works  there  runs  a  tone  of  intimate 
acquaintance  with  the  things  of  nature,  as  for  instance 
in  the  soothingly  descriptive  phrase  of  As  You  Like 
It,  III,  2,  42,  "The  beetle  with  his  drowsy  hums." 
It  is  known  that  he  was  fond  of  outdoor  life,  and  it 
may  be  surmised  that  in  these  impressionable  years 
he  laid  the  foundations  for  the  true  and  accurate 
knowledge  of  nature  which  he  later  showed  in  his 
plays. 

Five  years  after  the  time  when  he  was  forced  to 
discontinue  his  schooling,  Shakespeare  was  married, 
though  then  only  a  youth  of  eighteen,  to  Anne  Hath- 
away. A  daughter,  Susanna,  was  born  in  May,  1583, 
and  twins,  Hamnet  and  Judith,  were  born  in  Febru- 
ary, 1585.  Anne  Hathaway  was  the  daughter  of  a 
farmer  who  lived  about  a  mile  from  Stratford.  No 
record  of  the  marriage  appears  in  the  parish  register 
at  Stratford,  but  an  interesting  marriage  bond  has 
been  discovered,  dated  1583,  so  that  there  is  no  doubt 


xiv  INTRODUCTION 

that  this  was  the  year  in  which  Shakespeare  was  mar- 
ried.  AVhat  the  young  man  did  for  a  living  during 
these  years  is  not  positively  known.  There  is  a  tra- 
dition that  he  worked  with  his  father.  On  the  strength 
of  this  supposition,  he  has  been  dubbed  "  butcher  boy  '^ 
by  some  of  his  biographers,  for  his  father  appears  by 
this  time  to  have  limited  his  unsuccessful  activities  to 
dealing  in  meats.  What  Shakespeare  really  did,  mat- 
ters little;  the  important  thing  is  that  he  was  wide 
awake  to  the  life  going  on  about  him  and  was  becom- 
ing insensibly  steeped  in  the  natural  scenery  of  the 
place.  His  powers  of  observation  were  becoming  keen 
and  accurate.  His  knowledge  of  human  nature  and 
the  physical  world  of  beauty  was  becoming  thorough, 
extensive,  and  vital.  He  appears  to  have  had  great 
fondness  for  outdoor  sport,  so  that  the  tradition  that 
he  was  forced  to  leave  the  country  because  of  his 
share  in  a  poaching  exploit  on  the  property  of  Sir 
Thomas  Lucy  seems  not  preposterous.  At  any  rate, 
he  did  leave  Stratford,  in  1586,  on  foot,  to  take  up  a 
new  phase  of  his  life,  in  London. 

During  his  London  life,  which  may  be  said  to  ex- 
tend from  1586  (1587  according  to  Dowden)  to  1611, 
Shakespeare  was  busy  at  various  occupations,  all, 
however,  intimately  connected  with  the  stage.  It  is 
said,  and  some  of  the  latest  and  most  authoritative 
critics  are  inclined  to  accept  the  tradition,  that  Shake- 


WILLIAM  SHAKESPEARE  XV 

speare  first  gained  his  living  in  London  by  holding 
horses  for  men  of  fashion,  who  always  rode  out  in  the 
country  to  the  theatre  on  afternoons  when  plays  were 
presented.  One  of  the  most  scholarly  writers  of  recent 
3^ears,  Mr.  Lee,  cautiously  ventures  the  remark  that 
there  is  no  "  inherent  improbability  in  the  tale."  Mr. 
Dowden,  on  the  other  hand,  is  the  most  emphatic 
among  the  critics  who  scout  this  tradition.  If  Shake- 
speare did  commence  in  this  humble  way,  he  did  not 
long  remain  at  so  menial  an  occupation.  He  soon 
began  to  take  minor  parts  in  the  theatre,  and  before 
long  was  writing  plays  himself.  Eegarding  the  parts 
which  he  played,  little  has  corpe  down  to  us.  There 
is  some  reason  for  believing,  on  the  authority  of  the 
poet's  brother,  that  Shakespeare  played  the  part  of 
Adam  in  As  You  Like  It.  He  certainly  played  many 
other  parts,  with  fair  success.  He  became  associated 
with  a  company  of  actors  who  enjoyed  the  patronage 
of  Lord  Leicester  and  of  Queen  Elizabeth.  With  this 
company  he  acted  for  some  time  at  The  Theatre,  then 
he  went  with  them  to  the  Rose  Theatre.  He  is  said 
to  have  appeared  twice-  with  E-ichard  Burbage,  the 
greatest  tragic  actor  of  the  period,  before  Queen  Eliza- 
beth—  one  of  these  occasions  being  at  Christmas  time 
in  1593. 

As  an  actor  Shakespeare  will  always  be  best  known 
by  reason  of  his  connection  with  the  famous  Globe 


xvi  INTRODUCTION 

Theatre,  a  short  description  of  which  appears  in  another 
section  of  this  Introduction.  At  the  Globe  Theatre, 
which  was  built  on  the  site  of  The  Theatre,  demolished 
to  make  way  for  it,  Shakespeare  acted  for  many  years. 
He  became  one  of  the  managers  of  the  theatre,  and 
made  considerable  profit  out  of  his  managerial  connec- 
tion with  the  stage.  During  the  most  productive  pe- 
riod of  his  life,  too,  he  appears  to  have  written  two 
plays  a  year,  so  that  by  means  of  acting  and  managing 
and  writing  he  earned  a  good  income.  That  the  peo- 
ple of  his  native  town  well  understood  his  growing 
prosperity  is  plain  from  the  fact  that  in  1598  Abra- 
ham Sturley  wrote  to  Eichard  Quiney  saying  that  by 
aid  of  Shakespeare  certain  favors,  greatly  desired, 
might  probably  be  gained  from  Lord  Burleigh,  and 
from  the  further  fact  that  in  this  same  year  Richard 
Quiney  wrote  to  Shakespeare  asking  for  a  loan  of  £30. 
When  the  greater  purchasing  power  of  money  in  the 
dramatist's  time  is  considered,  it  will  be  seen  that  Quiney 
asked  for  no  insignificant  loan.  To  get  an  adequate 
idea  of  sums  of  money  mentioned  regarding  the  end 
of  the  sixteenth  century,  the  reader  must  remember 
that  the  ratio  is  about  one  to  eight.  One  pound  in 
Shakespeare's  day  would  buy  nearly  as  much  as  eight 
pounds  now.  Obviously,  therefore,  the  prosperity  of 
the  Globe  playwright  was  becoming  well  known  in 
little  Stratford. 


WILLIAM  SHAKESPEARE  XYU 

A  brief  summary,  such  as  this,  of  Shakespeare's  life 
ill  London,  must  not  lead  the  student  to  suppose  that 
the  poet  and  dramatist  lived  continuously  and  unin- 
terruptedly in  London  all  these  twenty-five  years.  He 
went  back  and  forth  often  between  Stratford  and  London. 
It  is  thought  that  during  part  of  the  time  he  had  his 
family  with  him  in  the  city.  Yet  during  most  of  the 
years  Shakespeare  probably  left  his  family  at  Stratford, 
while  he  was  earning  a  comfortable  fortune.  He  lived 
for  some  time  at  South wark,  which  was  near  the 
theatres.  Some  authorities  believe  that  in  1592  or 
1593  he  made  a  visit  to  Italy.  This,  however,  is  not 
probable.  The  company  of  actors  with  which  he  was 
connected  made  many  trips  to  smaller  towns  through 
England.  In  this  way  Shakespeare  was  more  than 
once  at  Oxford,  Faversham,  Shrewsbury,  Folkestone, 
Coventry,  Dover,  Bristol,  Bath,  and  Rye. 

In  1611  Shakespeare  moved  to  Stratford  to  live  with 
all  of  his  remaining  family,  i.e.  his  wife  and  his  two 
daughters,  Susanna  and  Judith.  His  son  Hamnet  had 
died  in  1596,  his  father  in  1601,  and  his  mother  in 
1608.  At  Stratford  Shakespeare  lived  in  the  house  on 
his  estate,  New  Place,  which  he  had  bought  in  1597 
for  £60,  and  which  is  one  of  the  most  interesting  build- 
ings that  have  come  drnvn  to  us  from  the  poet's  time. 
It  was  a  substantial  timber  and  brick  house  of  consid- 
erable size,  built  in  the  preceding  century.     It  stood 


xviii  INTRODUCTION 

at  the  corner  of  Chapel  Street  and  Chapel  Lane,  oppo- 
site the  Guild  chapel.  Shakespeare  lived  here  com- 
fortably, even  luxuriously,  from  the  profits  of  his 
plays.  His  later  years  appear  to  have  been  altogether 
pleasant,  offering  a  remarkable  contrast  to  the  last 
days  of  one  of  his  dramatic  rivals,  Christopher  Mar- 
lowe, who  was  stabbed  in  a  tavern  brawl,  June  1, 
1593.  Yet  even  before  Shakespeare's  death,  the  Puri- 
tan reaction  against  the  stage  had  begun.  In  1612 
the  town  council  of  Stratford  passed  a  resolution  in 
which  the  countenancing  of  plays  was  declared  to  be 
"  against  the  example  of  other  well-governed  cities 
and  boroughs,"  and  in  which  a  penalty  was  laid  on 
actors. 

Shakespeare  signed  his  will  in  March,  1616,  and 
died  April  23,  of  the  same  year.  He  was  buried 
April  25,  inside  the  chancel  of  Holy  Trinity  church, 
near  the  northern  wall.  By  the  terms  of  his  will 
his  wife  received  his  second-best  bed  with  the  fur- 
nishings, while  his  daughter  Susanna  received  the 
greater  part  of  the  estate,  including  ISTew  Place,  the 
properties  in  the  neighborhood  of  Stratford,  and 
the  house  in  Blackfriars,  London;  and  his  daughter 
Judith  received  a  small  property  in  Chapel  Lane,  a 
sum  of  money,  and  certain  pieces  of  plate.  Besides, 
various  smaller  bequests  were  made  to  his  sister,  his 
nephews,  his  old  London  friends  John  Heminge,  Eich- 


WILLIAM  SHAKESPEARE  xix 

ard  Burbage,  and  Henry  Condell,  and  his  godson 
William  Walker.  Money,  too,  was  left  to  the  poor  of 
Stratford. 

The  actors  Heminge  and  Condell  deserve  the  grati- 
tude of  lovers  of  Shakespeare,  because  they  collected 
the  plays  in  1623  and  printed  them  in  what  is  known 
as  the  First  Folio  edition  of  the  dramatist's  works. 
In  Dr.  Furness's  Variorum  Shakespeare  will  be  found 
exact  reproductions  of  the  First  Folio  texts  of  the  dif- 
ferent plays.  Considering  the  inaccurate  modes  of 
typesetting  of  the  time,  the  text  of  the  plays  in  this 
edition  is  fairly  good. 

These  two  fellow  actors  of  Shakespeare  make  in  this 
First  Folio  edition  three  important  statements  about 
their  friend :  — 

1.  That  to  Shakespeare  and  his  plays  in  his  life- 
time was  invariably  extended  the  fullest  favor  of  the 
court  and  its  leading  officers. 

2.  That  death  deprived  him  of  the  opportunity  he 
had  long  contemplated  of  preparing  his  literary  work 
for  the  press. 

3.  That  he  wrote  with  so  rapidly  flowing  a  pen 
that  his  manuscript  was  never  defaced  by  alteration 
or  erasure. 

To  this  last  observation,  Ben  Jonson,  another  con- 
temporary player,  adds  that  Heminge  and  Condell 
would  often  mention  to  him  Shakespeare's  rapidity  of 


XX  INTRODUCTION 

composition.  Jonson  was  in  the  habit  of  arguing  that 
Shakesj^eare's  work  would  have  been  better  had  he 
devoted  more  time  to  its  correction.  He  says  that 
Shakespeare  "was  indeed  honest  and  of  an  open  and 
free  nature,  had  an  excellent  phantasy,  brave  notions 
and  gentle  expressions,  wherein  he  flowed  ivith  that 
facility  that  sometimes  it  ivas  necessary  he  should  he 
stopped. ^^ 

Regarding  Shakespeare's  estate,  the  remark  is  made 
by  one  of  the  recent  investigators  that  the  dramatist 
harvested  his  resources  with  a  steady  hand.  The 
money  that  he  earned  in  London  he  invested  for  the 
building  up  of  the  fortunes  of  his  family  in  Stratford. 
He  was  generous  always,  yet  never  prodigal.  While 
other  men  of  his  profession  were  wasting  their  re- 
sources in  disorderly  living,  he  was  saving  his  for  his 
family.  To  be  sure,  a  Stratford  curate  who  lived 
toward  the  end  of  the  century  in  which  Shakespeare 
died  reported  his  discovery  that  Shakespeare  was  able 
in  his  last  years  to  spend  "  at  the  rate  of  £1000  a 
year,"  and  that  shortly  before  his  death  he  entertained 
Drayton  and  Ben  Jonson  at  "  a  merry  meeting  "  from 
the  effects  of  which  he  met  his  death.  The  implica- 
tion, however,  that  Shakespeare  died  from  too  much 
conviviality  has  been  discredited  by  later  students. 
Altogether,  then,  the  last  years  of  Shakespeare,  who 
may  reasonably  be  called  a  self-made  dramatist,  af- 


SHAKESPEARE'S   WRITINGS  XXV 

ford  basis  for  quiet  contemplation  of  the  success  that 
comes  to  him  who  has  genius,  lives  moderately,  and 
works  hard. 

SHAKESPEAEE'S  WEITIKGS 

The  reader  will  recall  the  statement  in  the  preced- 
ing section  that  Shakespeare,  not  long  after  his  arrival 
in  London,  began  recasting  various  old  plays  for  use 
by  the  company  of  actors  with  which  he  was  con- 
nected. About  the  time  of  these  first  attempts  at  play 
writing,  Shakespeare  composed  a  series  of  sonnets 
which  have  been  much  discussed  by  critics  during  the 
past  century.  The  sonnets  as  a  whole  are  not  studied 
by  high  school  students ;  only  a  few  of  these  poems 
ever  come  to  the  attention  of  the  boy  and  girl  in 
school.  Yet  it  seems  advisable,  in  beginning  a  brief 
discussion  of  Shakespeare's  writings,  to  take  a  glance 
at  the  general  nature  of  the  sonnets. 

First  of  all  it  should  be  understood  that  the  sonnets 
of  Shakespeare  are  not  written  in  the  usual  sonnet 
form  of  the  present  day.  The  strictly  classical  sonnet, 
modelled  after  the  Italian  form,  consists  of  fourteen 
lines,  of  which  the  first  eight  are  a  unit  in  thought, 
called  the  octave ;  and  the  last  six,  also  complete  in 
themselves  though  following  as  an  application  of  the 
thought  of  the  octave,  are  another  unit,  called  the  ses« 


xxii  INTRODUCTION 

tet.  A  period  or  full  stop  follows  the  octave.  If  this 
form  of  poetry  is  the  only  form  which  may  strictly  be 
called  sonnet,  Shakespeare's  sonnets  are  not  really 
"  sonnets ''  at  all,  for,  although  they  are  fourteen  lines 
in  length  and  are  decasyllabic,  they  do  not  consist  of 
an  octave  and  a  sestet.  Since  these  poems  of  Shake- 
speare are  always  called  sonnets,  it  is  necessary  to  ac- 
cept a  wider  definition  of  sonnet  which  will  include 
them.  Shakespeare's  sonnets  are  composed  of  three 
groups  of  four  lines  each,  to  which  are  added  as  the 
final  lines  a  couplet.  For  example,  one  of  the  most 
characteristic  of  the  sonnets  is  as  follows  :  — 

"  Full  many  a  glorious  morning  have  I  seen 

Flatter  the  mountain  tops  with  sovereign  eye, 
Kissing  with  golden  face  the  meadows  green, 

Gilding  pale  streams  with  heavenly  alchymy  ; 
Anon  permit  the  basest  clouds  to  ride 

With  ugly  rack  on  his  celestial  face, 
And  from  the  forlorn  world  his  visage  hide, 

Stealing  unseen  to  west  with  this  disgrace. 
Even  so  my  sun  one  early  morn  did  shine, 

With  all  triumphant  splendor,  on  my  brow ; 
But  out,  alack  !  he  was  but  one  hour  mine, 

The  region  cloud  hath  mask'd  him  from  me  now. 
Yet  him  for  this  my  love  no  whit  disdaineth  ; 
Suns  of  the  world  may  stain,  when  heaven's  sun  staineth." 

Shakespeare's  sonnets  are  addressed  to  two  different 
persons    .Whether  these  two  persons  were  real  or  not, 


SHAKESPEARE'S   WRITINGS  XXlll 

whether  they  actually  lived  or  were  merely  creations  of 
Shakespeare's  poetic  imagination,  are  mooted  questions 
that  do  not  concern  us  here.  What  is  important  to 
understand  is  that  through  all  the  sonnets  is  seen 
clearly  the  story  of  a  poetical  expression  of  affection 
toward  a  young  man  and  a  young  woman.  The  man, 
loved  by  the  poet  with  an  intense  and  earnest  affec- 
tion, wins  for  himself  the  love  of  the  young  woman, 
and  in  consequence  the  poet's  verse  is  filled  Avith  sor- 
row and  reproaches.  That  Shakespeare  has  put  into 
the  sonnets  much  of  the  imagination  and  keen  insight 
into  human  motives  that  characterize  his  best  dra- 
matic work  cannot  be  questioned.  So  much  will  per- 
haps suffice  to  give  the  reader  a  general  impression  of 
the  nature  of  a  portion  of  Shakespeare's  writings  with 
which  every  student  should  be  acquainted. 

When  we  come  to  the  more  familiar  part  of  Shake- 
speare's work,  we  find  at  once  that  it  can  most  easily 
be  considered  under  the  usual  divisions  of  Historical 
plays,  Comedies,  and  Tragedies.  No  attempt  will  be 
made  to  discuss  each  individual  play.  Complete  lists 
may  readily  be  found  in  any  of  the  larger  books  on 
English  literature  or  in  one  of  the  numerous  single 
volume  editions  of  Shakespeare.  The  historical  plays 
represent  the  earliest  period  of  Shakespeare's  develop- 
ment  as  a  dramatist.  In  these  he  took  his  facts  from 
chronicle  writers  like  Holinshed;  or  earlier  dramatists 


xxiv  INTRODUCTION 

like  Marlowe,  and  worked  them  over  after  Lis  own 
fashion  into  dramas  wholly  different  from  his  sources. 
Instead  of  trying  to  cover  a  whole  reign,  for  instance, 
in  a  plaj^,  he  selected  and  shaped  incidents  that  would 
make  a  dramatic  unit.  What  he  was  learning  to  do 
.when  he  wrote  the  historical  dramas  was  to  present 
men  in  action.  He  did  not  stick  faithfully  to  history, 
yet  he  presented  his  characters  as  acting  so  realisti- 
cally that  even  such  a  distinguished  statesman  as 
Chatham  acknowledged  that  he  learned  all  his  English 
history  from  Shakespeare.  Sometimes  he  depicts  a 
character  in  an  entirely  different  aspect  from  the 
true  historical  view.  He  makes  Eichard  III  a  hunch- 
back when  the  most  that  real  history  tells  us  is  that 
Eichard  was  possibly  built  wdth  one  shoulder  slightly 
higher  than  the  other,  being  a  man  of  most  pleasing 
and  even  perfect  physical  appearance  except  for  this 
imperfection.  In  one  case,  too,  Shakespeare  seems  to 
describe  his  own  son  Hamnet  under  the  guise  of  a  his- 
torical character  in  a  play,  and  he  causes  one  character 
to  lament  in  the  manner  of  his  own  lament  over  the 
death  of  his  young  son.  His  main  power  as  a  writer 
of  historical  plays  has  been  well  said  by  Mr.  Mabie  to 
lie  in  his  presentation  of  the  dominant  English  asser- 
tiveness  which  distinguished  the  Elizabethan  age  and 
has  made  England  a  world  power  from  that  time  to 
this. 


SHAKESPEARE'S    WRITINGS  XXV 

In  the  comedies,  Shakespeare  appears  as  a  true 
humorist.  He  has  the  larger  view  that  keeps  his 
humor  from  degenerating  into  a  mere  sneer  fit  only 
to  raise  a  laugh.  He  bubbles  over  with  the  joy  of 
living.  He  rarely  descends  to  pure  farce.  He  raises 
the  theatre-goer  or  the  reader  with  him  to  his  cheer- 
ful mood.  He  does  not  use  his  plays  as  a  means  for 
caricaturing  individual  persons  whom  he  dislikes, 
though,  to  be  sure,  there  is  a  belief  handed  down  from 
early  years  that  he  did  in  one  character  take  the  op- 
portunity of  making  fun  of  a  man  of  his  time ;  it  is 
said  that  Shakespeare  had  in  mind  Sir  Thomas  Lucy 
when  he  drew  the  character  of  Justice  Shallow  in 
TJie  Merry  Wives  of  Windsor.  Sir  Thomas  Lucy,  it 
will  be  remembered,  was  the  owner  of  the  estate  on 
which,  according  to  tradition,  Shakesj^eare  was  "  taken 
prisoner,  and  carried  to  the  keeper's  lodge,  where  he 
remained  all  night  in  doleful  captivity."  Though  the 
tradition  that  Shakespeare  caricatured  Lucy  may  be 
true,  this  was  not  the  custom  of  the  peerless  drama- 
tist. His  humor  is  too  kindly  for  him  to  resort  often 
to  caricature  of  contemporaries.  His  comedies  are 
free  from  the  jarring  personal  element  that  marks  an 
inferior  dramatist.  One  cannot  imagine  a  Shakespeare 
lampooning  an  enemy  in  a  play  as  Pope  did  in  a 
satire.     Shakespeare's  humor  gives  joy  to  the  ages. 

The  comedies  of  Shakespeare  are  entertaining  be- 


XX  vi  tNTtiODUCTtO^r 

cause  of  the  humorous  situations  with  which  they 
abound,  but  they  are  enjoyed  by  all  men  not  because 
of  the  ludicrous  action,  but  because  of  the  characters. 
These  are  real  living  persons  moulded  from  his  imagi- 
nation or  infused  with  life  from  the  stock  figures  of 
the  plays  which  he  adapts  or  rewrites.  When  he  has 
completed  his  characters  at  the  end  of  the  last  act, 
they  stand  out  alive  for  all  time.  In  his  historical 
plays  Shakespeare  grasped  the  national  Elizabethan 
spirit  of  England  and  passed  the  knowledge  of  it 
along  to  future  generations.  In  his  comedies  he  real- 
ized the  merriest  side  of  human  life,  and  with  it  has 
made  the  world  merrier  ever  since. 

Comedy  springs  from  the  same  source  as  tragedy. 
The  greatest  writer  of  comedy  might  be  equally  suc- 
cessful in  writing  tragedy.  Shakespeare's  tragedies 
are  probably  played  more  often  than  his  comedies.  It 
is  by  perfecting  himself  in  a  tragedy  of  Shakespeare 
and  obtaining  wide  recognition  for  successful  inter- 
pretation of  a  supreme  tragic  role  that  the  accom- 
plished actor  of  the  day  makes  sure  for  himself  a 
place  in  the  short  list  of  names  of  distinguished 
Shakespearian  actors.  The  tragedies  of  Shakespeare 
mark  the  climax  of  his  dramatic  genius  and  skill.  In 
them  he  shows  his  widest  view  of  life  and  his  most 
perfect  art  in  construction.  He  was  now  at  the  height 
of  his  success  in  life,  so  far  as  success  is  measured  by 


SHAKESPEARE'S    WRITINGS  xxvii 

property,  friends,  physical  ease,  and  assured  position. 
Yet  he  had  been  sobered  by  the  death  of  his  father 
and  of  his  son  Hamnet.  One  of  the  friends  whom  he 
most  admired  had  lost  his  life  in  an  alleged  plot 
against  Queen  Elizabeth.  The  Puritan  reaction  against 
the  stage  had  already  begun  to  set  in.  The  most 
prominent  play -writers  of  the  day  were  engaged  in  a 
bitter  controversy.  Thus  many  influences  were  begin- 
ning to  stir  the  serious  side  of  his  own  nature.  As  a 
result,  he  produced  the  masterpieces  of  tragedy  which 
have  been  translated  into  all  languages  and  have  been 
universal  in  their  appeal  to  the  instincts  of  human 
experience. 

In  Julius  Ccesar  he  turned  from  his  previous  sources 
of  early  chronicle  and  inferior  plays  to  the  matchless 
biographies  of  Plutarch.  The  story  which  he  found 
in  Plutarch  he  formed  into  a  tragedy  of  remarkable 
vitality.  In  Hamlet  he  made  use  of  a  story  familiar 
for  generations  before  his  time  and  known  everywhere 
through  northern  Europe  during  the  fifteenth  century. 
He  changed  the  form  of  the  story,  making  in  his 
drama  an  inevitable  tragic  conclusion.  In  Macbeth  he 
again  made  use  of  early  history,  but  transformed  it  to 
suit  the  needs  of  his  tragedy.  About  each  of  these 
plays  there  clings  a  vast  library  of  commentary  and 
controversy.  Some  critics  have  argued  that  Julius 
Coisar  is  improperly  named,  that  Brutus  is  the  hero 


Xxviii  INTROD  UC  TION 

and  not  Csesar ;  that  Hamlet  is  a  play  having  for  its 
hero  a  young  man  insane  and  irresponsible ;  and  that 
Macbeth  presents  as  its  central  character  a  man  urged  on 
to  diabolic  crimes  by  the  fatal  influence  of  the  witches, 
or  else  completely  dominated  by  the  overpowering 
personality  of  an  evil  genius,  his  wife.  Other  critics 
have  contended,  on  the  other  hand,  that  Caesar  is  truly 
the  ruling  power  which  determines  all  parts  of  the 
tragedy ;  that  Hamlet  is  a  youth  of  the  most  sensitive 
nature,  feigning  insanity  for  years,  and  at  last  over- 
whelmed by  the  turn  of  outward  circumstances;  and 
that  Macbeth  is  a  free  agent  becoming  more  and  more 
embroiled  in  the  villanies  of  his  own  voluntary  wick- 
edness. The  fact  that  Shakespeare  could  produce 
tragedies  calling  out  such  diverse  opinions  and  aston- 
ishing resources  of  critical  exegesis  must  be  set  down 
to  his  masterful  grasp  of  life  in  all  its  complexities, 
and  must  be  considered  the  crowning  tribute  to  his 
power  and  insight  as  a  world's  dramatist. 

Kegarding  other  tragedies  of  Shakespeare  little 
need  be  said  in  this  brief  sketch.  j\Ir.  Mabie  ranks  the 
tragedies  of  Othello  and  King  Lear  along  with  Hamlet 
and  Macbeth  as  Shakespeare's  masterpieces;  and  he 
characterizes  King  Lear  as  the  play  in  which  *Hhe 
tragic  art  of  Shakespeare  reaches  its  sublimest  height," 
as,  in  fact,  ''  the  greatest  dramatic  achievement  of  our 
race."     If  the  student  can  in  school  be  stimulated  to 


THE  STAGE  IN  SHAKESPEARE'S   TIME       XXIX 

read  for  himself  and  make  his  own  spiritual  possession 
the  tragedy  of  King  Lear,  or  any  one  of  the  tragedies, 
or  comedies,  or  historical  plays  of  Shakespeare  that  he 
is  not  required  to  read  in  a  course,  he  may  count  that 
day  blessed  on  which  his  parents  determined  upon  giv- 
ing him  the  privileges  and  opportunities  of  a  second- 
ary school  education. 


THE   STAGE   m   SHAKESPEAKE'S   TIME 

Nowadays  when  a  play  of  Shakespeare  is  performed, 
the  characters  are  dressed  in  costumes  intended  to 
represent  with  some  accuracy  the  kind  of  apparel 
which  persons  of  the  time  indicated  in  the  play  prob- 
ably wore.  Eor  instance,  in  the  staging  of  the  play 
Julius  Ccesar,  some  of  the  actors  are  made  to  wear 
loose,  flowing  togas  constructed  with  an  eye  to  histor- 
ical accuracy;  and  in  As  You  Like  It  the  foresters 
wear  garments  such  as  actual  foresters  of  the  early 
period  of  English  history  really  wore.  Again,  at  the 
present  time  when  Shakespeare  is  on  the  boards,  elab- 
orate scenery  is  often  prepared  in  order  to  show  the 
exact  locality  where  the  action  takes  place,  as,  for 
example,  in  the  city  of  Rome  or  of  Venice,  beside  a 
beautiful  flowing  stream  or  in  front  of  the  palace  of 
a  king. 


XXX  INTRODUCTION 

All  this  attempt  at  dressing  the  part  and  helping 
the  playgoer  by  accurate  and  beautiful  scenery  was 
wholly  neglected  in  Shakespeare's  time.  When  Shake- 
speare was  himself  an  actor  in  plays,  the  characters, 
it  is  true,  were  often  garbed  in  rich  costumes,  as  may 
be  seen  from  an  old  account  book  of  one  of  the  theatres, 
where  there  is  an  item  of  £19  for  a  single  velvet  cloak, 
and  where  there  is  mention  of  the  cost  of  the  silk  and 
taffeta  used  in  numerous  splendid  costumes.  But  these 
were  not  designed  accurately  to  represent  the  part. 
The  same  rich  clothes  answered  for  all  types  of  plays, 
and  were  worn  indifferently  by  actors  representing  peas- 
ants in  the  inn  yard,  nobles  in  the  court,  or  soldiers 
on  the  battlefield.  Perhaps  a  crown  might  be  worn 
by  a  king  or  a  sword  might  be  carried  by  a  soldier; 
otherwise  there  was  no  dressing  of  the  part.  More- 
over, there  was  no  arrangement  of  scenery  to  help  the 
observer  to  understand  the  true  appearance  of  the  place 
where  the  action  occurred.  If  it  was  desired  to  repre- 
sent a  counting-house  on  the  sixteenth  century  stage, 
a  table  on  which  were  the  materials  for  writing  had 
to  serve  the  purpose.  If  the  drama  called  for  an  upper 
room  in  one  scene,  battlements  in  another,  a  hillside 
in  still  another,  and  even  Mount  Olympus  in  a  fourth, 
the  same  rude  balcony  at  the  back  of  the  stage  had  to 
do  duty  for  all.  Sir  Philip  Sidney  in  his  Defense  of 
Foesie  commented  on  the  necessity  for  imagining  the 


THE  STAGE  IN  SHAKESPEARE^ S  TIME       xxxi 

same  bare  timbers  to  represent  in  quick  succession  a 
garden,  a  rocky  coast,  a  cave,  and  a  battlefield ;  and 
for  believing  Africa  to  be  on  one  side  of  the  stage  and 
Asia  on  the  other.  Baker,  however,  takes  the  position 
that,  at  least  in  the  private  Blackfriars  Theatre,  there 
was  considerable  scenery  early  in  the  seventeenth  cen- 
tury. Still,  it  may  be  said  regarding  most  of  the 
theatres  that  if  the  actors  desired  to  show  that  they 
were  presenting  a  scene  which  occurred  in  Rome, 
they  simply  put  up  in  the  front  part  of  the  stage  a 
placard:  Rome.  Then,  if  the  scene  changed,  they 
erected  another  placard  in  a  different  part  of  the  stage, 
reading  perhaps  :  Field  of  Philippi.  That  such  cru- 
dity is  wholly  apart  from  our  modern  notions  of  stag- 
ing may  be  seen  from  the  anecdote  told  by  Sir  Henry 
Irving,  the  great  Shakespearian  actor,  regarding  a 
remarkable  performance  which  he  once  gave  at  West 
Point,  "  where  there  w^as  no  scenery,  and  where  we  had 
to  put  up  signs  which  read,  '  This  is  a  court,'  '  This  is 
a  street,'  and  so  on."  {Neiv  York  Sun,  October  15, 
1901.)  The  same  stage  arrangement,  on  the  contrary, 
served  in  Shakespearian  days  as  a  matter  of  course  for 
practically  any  place  necessary,  and  no  one  thought  of 
the  incongruity.  In  short,  it  may  be  said  that  no  con- 
sideration was  given  to  the  time  and  place  of  the  play. 
Mr.  Brander  Matthews  in  his  Studies  of  the  Stage  sums 
up  the  matter  by  remarking  that  the  stage  ax->pliances 


xxxii  tNTRODVCTtOK 

of  Shakespeare's  time  were  so  few  and  scanty  as  to  be 
almost  wholly  absent.  "The  physical  conditions  of 
the  stage  under  Shakespeare  are  altogether  other  than 
those  of  our  time." 

Furthermore,  if  the  play  called  for  a  large  army,  a 
few  members  of  the  acting  company  had  to  serve  for 
the  "  army.'^  The  companies  of  actors  consisted  usu- 
ally of  but  ten  or  a  dozen  persons,  of  whom  only  two 
or  three  were  really  actors.  The  rest  were  what  we  call 
supernumeraries ;  they  were  paid  so  much  a  job,  just 
as  a  carpenter  or  a  shoemaker  might  be  paid.  The 
company  with,  which  Shakespeare  acted  at  the  Globe 
Theatre  in  1599  is  pointed  out  as  exceptionally  large, 
since  it  consisted  of  sixteen  persons.  The  imagina- 
tion of  the  playgoer,  obviously,  had  to  be  used ;  the 
eager  observer  by  his  lively  imagination  came  to 
believe  that  the  half  dozen  straggling  actors  repre- 
sented, say,  all  of  Brutus' s  army.  In  the  chorus  which 
serves  as  prologue  to  Henry  "Fthe  dramatist  begs  the 
audience  to  let  their  "  imaginary  forces  work,"  to  sup- 
plement "  imperfections  with  their  thoughts,"  and  to 
imagine  that,  when  there  is  talk  of  horses,  they  see 
the  horses  ''  printing  their  proud  hoofs  in  the  receiv- 
ing earth."  In  all  this  the  idea  of  the  dramatist  evi- 
dently is  that  spectacular  machinery  could  be  of  no 
use  without  imagination,  and  that,  with  imagination, 
scenery  might  be  neglected.     To  most  persons  of  to- 


THE  STAGE  IN  SHAKESPEARE'S   TIME     xxxiii 

day  the  stage  settings  of  the  Elizabethan  age  would 
seem  laughably  crude  and  inadequate.  The  audience 
was  interested  in  those  days  not  in  where  the  actor 
was,  but  altogether  in  what  he  was  doing. 

Again,  even  with  so  small  a  company  of  actors,  an- 
other limitation  was  imposed.  Women  never  appeared 
on  the  stage  to  take  the  roles  supposed  to  be  played 
by  women.  Instead,  small  boys  or  young  men  whose 
voices  were  suitable  took  all  female  parts.  That  which 
makes  half  the  fun  of  a  college  play  where  young  men 
take  the  female  roles  was  accepted  without  comment 
in  Shakespeare's  time.  It  became  particularly  diffi- 
cult for  the  Elizabethan  boy  "actress"  when  he  had 
to  play  the  part  of  a  lady  who  at  some  point  in  the 
drama  assumed  the  disguise  of  a  man.  The  task  for 
the  youthful  player  then  was  to  pretend  to  be  a  boy 
and  yet  not  to  show  too  plainly  that  he  was  a  boy. 
The  part  of  a  Eosalind,  it  may  be  conjectured,  was 
not  easy  to  fill  satisfactorily  —  a  fact  which  Shake- 
speare himself  seems  to  have  recognized,  for  he  makes 
Eosalind  in  the  epilogue  of  As  You  Like  It  say,  "  If 
I  were  a  woman,  I  would  kiss  as  many." 

These  peculiarities  of  the  staging  of  a  play  in  Shake- 
speare's era  must  be  clearly  comprehended  in  order 
that  the  student  may  read  any  one  of  the  plays  intelli- 
gently. Various  references  to  the  modes  of  dress  in 
the  playwright's  own  time  may,  for  example,  bewilder 


XXXiv  INTRODUCTION  \ 

i 

the  young  student  who  has  gone  far  enough  in  his  \ 

studies  to  detect  apparent  inaccuracies  and  anachro-  ' 

nisms  in  the  matter  of  dress  and  manners  in  Julius  \ 

Ccesar  or  Macbeth.     There  are  in  Julius  Ccesar  numer-  | 

ous  references  to  doublets  (Act  I,  Scene  2)  and  other  ] 

articles  of  dresS'worn  in  the  sixteenth  century,  but  • 

not  known  at  all  in  the  century  before  the  birth  of  j 

Christ.  ' 

In  As  You  Like  It  there  is  particular  necessity  for  ■ 
understanding  the  manner  of  stage  representation  in 
Shakespeare's  day.     This  play  seems  now  to  depend 

largely  on  scenic  effects,  particularly  when  the  scene  ■ 

is  laid  in  the  Forest  of  Arden  with  the  different  kinds  i 

of  trees  appearing  prominently  in   the   background,  i 

The  need  for  knowing  about  the  Elizabethan  mode  of  ' 

playing  this  comedy  and   other  dramas,   practically  , 

without  scenery,  may  be  realized  from  a  schoolroom  , 
incident.     Line  186  of  Act  III,  Scene  2,  contains   a 

reference  to   a  palm  tree   in    the   Forest   of   Arden.  | 

When  asked  why  the  dramatist  included  palm  trees  , 
among  the  trees  of  the  forest,  a  high   school   senior 

ingeniously  suggested  that  it  was   probably  because  ; 

palms  could  more  easily  be  secured  for  the  stage  than  ] 

oak  trees  or  maple  trees.     In  the  light  of  the  present,  i 
this  answer  was  not  preposterous,  for  certainly  a  palm 

would  now  be  easier  to  secure  in  a  city  for  the  stage  ' 
than  an  oak  or  a  maple.     Yet,  when  one  is  aware  of 


THE  STAGE  IN  SHAKESPEARE^ S  TIME      xxxv 

the  real  conditions  under  which  Shakespeare's  plays 
were  first  presented  —  that  not  even  pictures  of  trees 
were  customarily  employed  —  one  can  see  that  the 
senior's  reason  was  purely  fanciful.  Since  the  Forest 
of  Arden  of  the  play  is  not  in  any.  definite  country, 
the  insertion  of  a  reference  to  palms  or  olives  cannot 
be  condemned  as  an  inaccuracy,  nor  on  the  other  hand 
can  it  be  praised  as  an  attempt  to  lighten,  the  work  of 
stage  presentation.  As  You  Like  It,  when  played  for 
the  first  time  almost  exactly  three  hundred  years  ago, 
had  no  assistance  from  the  art  of  the  scene  shifter. 

Regarding  the  theatre  itself,  a  few  words  may  be 
written.  The  playhouse  frequently  resembled  an  an- 
cient inn  yard,  which  had  an  open  area  and  two  or 
three  tiers  of  galleries  with  rooms  at  the  back.  In 
fact.  Baker  holds  that  the  inn  yard  served  as  a  model 
for  the  first  English  theatre.  One  theatre,  the  For- 
tune, had  a  stage  forty-three  feet  wide  and  thirty-nine 
and  one-half  feet  deep,  including  the  tiring-room  at 
the  rear.  Though  the  distance  from  the  floor  to  the 
ceiling  was  only  thirty-two  feet,  there  were  three  gal- 
leries. The  stage  jutted  out  into  the  pit,  or  open,  un- 
roofed portion  of  the  house.  In  some  of  the  theatres 
the  stage  proper  was  largely  occupied  by  spectators, 
and  was  visible  from  all  sides.  Ordinarily  the  stage 
was  strewn  with  rushes  and  was  partially  concealed 
by  a  curtain.     The  men  of  fashion  paid  a  shilling  for 


XXXVi  INTRODUCTION  \ 

admission  and   an  extra   shilling   for  a  three-legged 

stool  on  the  stage.     Here  the}^  chatted  and  smoked  at  j 

pleasure.     They  assumed  the  privilege  of  making  re-  \ 

marks  during  the  play  to  the  actors  whenever  they  \ 

pleased.     The  poorer  enthusiasts  paid  a  few  pence  for  - 

standing-room  in  the  pit.    These  "  pitters  "  or  "  ground-  : 

lings  "  or  "  undertakers,"  as  they  were  variously  called,  \ 

chaffed  each  other  and  the  players,  quarrelled,  scuffled,  ' 

drank  beer,  and  when  necessary  ran  to  the  garbage  \ 

barrel  placed  conveniently  in  the  centre.     Truly  the  ^ 

pit,  ill- smelling  and  often  profane,  was  not  a  cheerful  \ 

subject   for  contemplation   to  any  spectator  of   finer  1 

sensibilities  a  century  or  two  in  advance  of  his  time,  j 

For  a  brief  but  extremely  vivid  account  of  this  feature  | 

of  the  theatre,  resort  should  be  had  to  Taine's  brilliant  \ 

study  of  English  prose  literature.  Book  II,  Chapter  II.  \ 

One  theatre  in  London  is  famous  because  of  Shake-  ; 

speare's  prominent  connection  with   it.     This  is   the  ; 

Globe  Theatre,  built  in  the  outskirts  of  the  city,  on  the  ; 

Bankside,  Southwark,  in  1597,  at  a  cost  of  £600.     It  \ 

was  a  hexagon  in  shape,  and  was  built  of  wood.     It  ; 

had  for  its  sign  Atlas  supporting  the  world,  beneath  1 

which  was   the   motto  Totus  mundus  agit  liistrionem.  \ 

Since  As  You  Like  It  was  first  produced  in  this  the-  j 

atre,  some  writers  have  conjectured  that   this  motto  ' 

served  Shakespeare  as  a  suggestion  for  his  lines  be-  ' 
ginning,  "  All  the  world's  a  stage."     The  covered  part 


LODGE'S  "ROSALYXDE''  xxxvil 

of  the  building  was  roofed  with  straw.  This  famous 
structure  was  burned  in  1613,  during  the  performance 
of  one  of  Shakespeare's  last  plays,  Henry  VIII.  Ac- 
cording to  the  generally  accepted  story  of  its  burning, 
the  theatre  was  set  on  fire  by  wadding  from  a  cannon 
which  was  shot  off  in  the  course  of  the  play.  Inside 
of  an  hour  (two  hours,  in  the  opinion  of  Mr.  Baker), 
the  whole  building  was  in  ashes.  The  point  of  particu- 
lar interest  about  the  destruction  of  the  Globe  is  that 
this  performance  appears  to  have  marked  a  distinct 
step  toward  the  elaborate  stage  machinery  and  "  up- 
holstery" of  later  days;  for  extraordinary  care  had 
been  spent  on  the  scenery  and  costuming  for  this  dis- 
astrous presentation.  In  the  beginning  of  Shake- 
speare's connection  with  the  stage,  there  was  no  such 
anxiety  to  make  scenery  or  cannons  correspond  with 
the  action  of  the  play. 

LODGE'S   "ROSALYNDE" 

A  slightly  stained  but  otherwise  perfect  copy  of 
the  editio  princeps  of  Thomas  Lodge's  liosalynde  was 
sold  lately  for  two  hundred  guineas.  The  book  was 
imprinted  by  Thomas  Orwin  for  T.  G.  and  John 
Busbie,  1590.  George  Steevens  says  that  in  As  You 
Like  It  Shakespeare  followed  this  work  of  Lodge 
more  exactly  than  is  his  general  custom  when  he  is 


xxxviii  INTRODUCTION  1 

indebted  to  such  originals.     Only  one  other  copy  of 
this  first  edition  has  been  traced  in  over  a  century, 
and  that  one  copy  lacked  four  leaves,  so  that  the  copy 
which  was  sold  for  two  hundred  guineas  is  unique.  '\ 
That  so  high  a  price  as  this  was  obtained   for  the  j 
volume  is  probably  due,  however,  in  large  measure,  to  i 
the  general  impression  that  Shakespeare  used  Rosa-  j 
lynde  in  making  his  unmatched  pastoral  comedy  of  j 
As  Ton  Like  It.     A  summary  of  the  contents  of  the  ' 
novel  will  help  to  make  the  study  of  the  play  inter- 
esting by  affording   a  basis  for  consideration  of  the 
question  how  vastly  superior  the  drama  is  to  the  origi-  \ 
nal  story. 

A  father.  Sir  John  of  Bordeaux,  on  his  death-bed  j 
bequeathed  his  property  to  his  three  sons,  Saladine,  I 
Fernandine,  and  Eosader.  He  particularly  enjoined  : 
upon  the  brothers  to  dwell  together  in  amity.  After  ; 
his  death,  Fernandine  was  sent  off  by  the  oldest  j 
brother  tc  the  university  for  an  education,  Saladine  | 
developed  considerable  skill  in  managing  the  estate,  i 
and  Rosader,  the  youngest,  was  kept  at  home  as  a  i 
menial  servant  on  the  family  property.  This  con-  : 
tinned  for  some  time.  Fernandine,  in  fact,  appears  \ 
scarcely  at  all  in  the  story ;  he  remained  quietly  at  \ 
the  university,  cultivating  his  mind  and  learning  the  ; 
graces  of  good  manners. 


LODGE'S  '^ROSALYNDE"  XXXIX 

The  oldest  and  the  youngest  brother,  on  the  other 
hand,  are  active  throughout  the  narrative.  Their 
enmity  and  final  reconciliation  impress  the  father's 
dying  request  as  a  moral  on  the  mind  of  the  reader. 
The  youngest  son,  Kosader,  feeling  his  manhood  stir- 
ring within  him,  rebelled  at  the  lack  of  advantages 
offered  him  by  his  oldest  brother.  When  a  celebrated 
wrestler  appeared  at  the  court  of  King  Torismond, 
Rosader  met  the  wrestler  and  overcame  him.  At  the 
time  of  the  encounter  he  fell  in  love  with  Rosalynde, 
daughter  of  the  rightful  king,  Gerismond,  whose 
throne  Torismond  had  usurped. 

On  the  day  of  the  wrestling  match  Torismond 
banished  from  his  kingdom  his  niece  Rosalynde  and 
his  daughter  Alinda,  who  pleaded  with  her  father  to 
change  his  mind  about  banishing  Rosalynde.  The 
two  girls  went  to  the  Forest  of  Arden,  in  France, 
where  Eosalynde's  father  was  in  exile,  living  as  a 
King  of  Outlaws.  Before  starting  into  the  unknown 
paths  of  the  forest,  Rosalynde  donned  the  garments 
of  a  page  to  act  as  protector  to  Alinda,  and  assumed 
the  name  of  Ganimede.  After  Rosalynde  and  Alinda 
had  left  the  court,  Rosader  was  forced  by  his  brother 
also  to  flee,  for  the  two  brothers  had  now  become 
intensely  hostile  to  each  other.  First  Saladine  chained 
Rosader  in  the  house  and  exhibited  him  to  friends  of 
the  family  as  a  lunatic.     Then  Rosader,  with  the  aid 


xl  INTRODUCTION 

of  old  Adam,  a  faithful  servant  of  the  lamented  Sir 
John  of  Bordeaux,  escaped  from  his  chains,  broke 
through  a  band  of  lusty  sheriffs'  followers,  and  safely 
reached  the  same  forest  to  which  Eosalynde  (Gani- 
mede)  and  Alinda  had  made  their  unprotected  way. 
Here  he  found  employment  as  forester  in  the  service 
of  the  banished  King  of  Outlaws,  Gerismond.  He 
passed  his  spare  time  in  making  sonnets  to  Eosalynde, 
whom  he  had  loved  at  first  sight,  but  whom  he  now 
never  dreamed  of  seeing  again. 

Eosalynde  (Ganimede)  and  Alinda  discovered  some 
of  the  sonnets,  posted  on  trees ;  by  and  by  they  had 
the  happiness  to  meet  Eosader  himself.  Eosalynde, 
still  dressed  as  the  page  of  Alinda,  and  so  not  recog- 
nized by  Eosader,  persuaded  the  valiant  wrestler  to 
make  love  to  her  dressed  in  male  garb  as  she  was,  as 
if  she  were  really  his  adorable  Eosalynde.  In  order 
to  test  Eosader,  she  even  tried,  without  effect,  to  make 
him  transfer  his  affections  to  her  companion  Alinda. 
This  idyJlic  wooing  continued  until  Eosader  discovered 
his  brother  Saladine  in  the  forest,  who,  it  appears, 
had  been  banished  thither  by  the  usurping  king.  This 
king  had  a  way  of  getting  rid  of  the  people  whose 
property  he  coveted.  Eosader  rescued  Saladine  from 
a  lion,  and  the  two  brothers  became  reconciled.  Sala- 
dine promptly  fell  in  love  with  Alinda  and  arranged 
to  marry  her  on  a  Sunday. 


LODGE'S  "ROSALYNBE^'  xli 

Before  the  marriage  day,  however,  a  band  of  rob- 
bers, hearing  of  the  remarkable  beauty  of  Alinda, 
tried  to  kidnap  her  one  morning  when  she  was  in  the 
company  of  Rosader  and  Ganimede.  Eosader  offered 
a  stanch  resistance,  but  was  overpowered  by  numbers. 
Luckily  Saladine  arrived  in  the  nick  of  time  to  rescue 
the  party.  Eosalynde  (Ganimede)  on  the  day  ap- 
pointed for  Alinda's  marriage  revealed  herself  to  her 
father  in  her  own  person,  putting  off  the  page's  attire 
which  she  had  thus  far  worn  in  the  forest  and  taking 
again  her  real  name,  Rosalynde.  Then  she  married 
Eosader.  At  the  same  time  Saladine  and  Alinda  were 
married.  While  the  couples  were  enjoying  the  wed- 
ding dinner  "  in  the  parlor,"  the  university  son,  Fer- 
nandine,  brought  news  of  the  approach  of  an  army 
under  the  usurping  king.  The  rightful  king  and  the 
three  sons  of  Sir  John  of  Bordeaux  joined  an  army, 
hastily  gathered,  and  won  a  big  victory  over  the 
usurper,  who  was  fortunately  killed  in  the  battle. 
Then  all,  being  restored  to  their  rightful  estates  and 
being  securely  married,  were  happy. 

A  skeleton  narrative  such  as  this  fails  to  take  into 
account  the  little  details  of  the  action  that  hold  one's 
interest  throughout.  The  making  of  sonnets  by  Eosa- 
der and  Eosalynde,  by  Saladine  and  Alinda,  must  be 
passed  by  entirely.  The  details  of  the  quarrels  be- 
tween Eosader  and  Saladine  and  of  their  final  recon- 


xlii  INTR  OB  UCTION 

ciliation  have  not  found  a  place  in  the  outline. 
Moreover,  several  entertaining  minor  characters  have 
not  been  mentioned  at  all.  Two  shepherds,  Coridon 
and  Montanus,  and  a  shepherdess,  Phoebe,  have  been 
purposely  overlooked  in  the  simplification  of  the  nar- 
rative. Phoebe  scorned  ^Montanus,  but  fell  in  love 
with  Eosalynde  (Ganimede).  The  beautiful  page 
finally  turned  Phoebe's  love  over  to  Montanus,  and 
these  two  made  a  third  couple  on  the  festive  wedding 
day.  Yet,  though  details  have  been  omitted,  the 
account  given  fairly  represents  the  plot  of  Lodge's 
Rosalynde. 

The  questions  now  arise,  how  far  is  Shakespeare 
indebted  to  Lodge  for  the-  incidents  of  his  As  Tou 
Like  It,  and  how  far  has  he  departed  from  the  source 
of  his  play  ?  How  largely  he  has  drawn  on  the  novel 
may  be  readily  understood  by  comparing  the  narrative 
just  given  with  the  plot  of  the  drama.  In  Shake- 
speare's comedy  two  brothers  quarrel.  One,  the 
youngest  of  three  sons,  flees  to  the  Porest  of  Arden, 
after  having  defeated  a  burly  wrestler  and  won  the 
unavowed  love  of  the  niece  of  an  outlawed  duke.  The 
eldest  brother  soon  follows,  banished  by  the  usurping 
duke  with  the  command  that  he  search  out  his  brother 
and  produce  him  at  the  court  of  the  duke.  Before  the 
departure  of  the  eldest  brother,  two  young  ladies,  one 
the  daughter  of  the  reigning  duke  and  the  other  hei 


LODGE'S  "iiOSALTNDE'''  xliii 

Cousin,  daughter  of  the  rightful,  but  exiled  duke,  also 
flee  to  the  forest.  In  the  forest  the  two  brothers  and 
the  two  cousins  meet  and  avow  their  love.  The  two 
brothers  are  reconciled  to  each  other,  about  as  in  the 
novel.  The  middle  brother  appears  in  the  play  with 
the  news  that  the  usurping  duke  has  seen  the  error  of 
his  way  and  has  resigned  his  throne  in  favor  of  his 
elder  brother,  the  proper  ruler.  The  play  closes  with 
cheerful  music  and  rustic  gambols  preparatory  to  the 
marriage.  In  the  play  the  shepherd  and  shepherdess 
are  also  ready  to  be  married  with  the  two  other 
couples. 

From  this  account  the  reader  will  observe  that  the 
plot  in  the  two  works  is  in  its  main  outlines  substan- 
tially the  same.  The  most  striking  differences  are  the 
omission  of  the  death-bed  scene,  when  the  father  be- 
queathed his  property  to  his  three  sons,  the  cutting 
out  of  the  actual  marriages,  and  the  neglecting  to 
insert  the  light  between  the  two  armies  and  the  rescue 
of  Celia  from  the  robbers.  The  first  omission  may  be 
accounted  for  by  the  necessity  for  shortening  the  time 
of  action  in  the  drama,  the  second  by  the  need  for 
compressing  all  into  five  acts  and  for  leaving  some- 
thing to  the  imagination,  and  the  third  by  the  desire 
to  avoid  on  the  stage  a  scene  which  would  distinctly 
mar  the  play  as  a  comedy,  which  would  in  fact  make 
it  a  tragedy,  since  the  offending  character  loses   his 


Xliv  •  INTRODUCTION 

life  by  violence.  The  clash  of  arms,  too,  with  the  rob- 
bers would  be  scarcely  appropriate  in  Shakespeare's 
comedy. 

This  last  omission,  however,  has  given  occasion  for 
the  most  serious  criticism  that  has  been  made  on  the 
structure  of  the  play.  Is  it  plausible  for  Oliver  to 
marry  Celia  (Aliena)  ?  Has  there  been  presented  in 
the  play  anything  to  make  it  seem  likely  that  Celia 
would  fall  in  love  with  Oliver  or  Oliver  with  Celia  ? 
Must  the  match  be  set  down  solely  to  the  familiar 
"  Love  at  first  sight "  ?  Must  we  accept  the  situation 
only  because  the  author  has  put  it  in  the  play,  and 
not  dare  to  consider  it  a  blemish  ?  Numerous  critics 
have  held  up  their  hands  in  dismay  at  the  discovery 
of  this  piece  of  what  they  deem  faulty  construction. 
Gollancz,  for  instance,  in  his  introduction  to  the  Tem- 
ple Classics  edition  of  Shakespeare  says  that  the 
omission  of  some  motive  for  Celia's  ready  acceptance 
of  Oliver's  suit  produces  "  the  only  unsatisfactory  ele- 
ment in  the  whole  play."  Swinburne  speaks  of  this 
as  the  "  one  unlucky  slip  of  the  brush  "  on  a  corner  of 
the  canvas.  Yet,  as  Swinburne  suggests,  undoubtedly 
Shakespeare's  one  "  slip  "  is  better  than  George  Sand's 
transference  of  Celia's  hand  to  Jaques.  In  this  par- 
ticular, Shakespeare  would  better  have  taken  a  hint 
from  Rosalynde.  He  might  have  caused  one  of  the 
characters  to  tell  how  Oliver  rescued  Celia  from    a 


LODGE'S  "BOSALYNDE^'  ^df 

band  of  robbers  that  was  on  the  point  of  kidnapping 
her. 

Though  there  are  only  these  main  omissions,  there 
are  many  variations  in  detail  which  cannot  be  brought 
out  by  so  condensed  a  comparison,  but  which  are 
pointed  out  in  the  iSTotes.  Moreover,  important  inser- 
tions of  characters  in  the  play  make  the  two  produc- 
tions entirely  different  in  tone.  The  dramatist  has 
introduced  on  his  own  account  Jaques,  Touchstone, 
and  Audrey.  These  are  not  mentioned  at  all  by 
Lodge,  even  under  different  names,  but  are  largely 
responsible  for  the  lightsome,  merry  tone  of  the  play. 
Indeed,  it  is  a  question  whether  any  two  persons  in 
As  You  Like  It  have  more  to  do  with  giving  it  the 
distinctive  character  of  which  one  never  tires  than 
Touchstone  and  Jaques. 

In  quality  the  two  works  can  scarcely  be  compared. 
The  songs  of  Shakespeare  are  incomparably  superior 
to  those  of  Lodge  ;  Lodge's  dialogue  is  tiresome  com- 
pared with  Shakespeare's ;  Lodge's  endless  repetitions 
of  mythological  references  to  Ixion  embracing  Juno  in 
a  cloud  and  stories  of  this  sort  become  intolerable. 
Nevertheless,  it  will  repay  any  student  of  As  You 
Like  It  to  spend  an  evening  over  the  hundred  and 
fifty  pages  of  Lodge's  Mosalynde. 


xlvi  INTRODUCTION 


VERSE   STRUCTURE 

Shakespeare's  plays  are  written  for  the  most  part  in 
blank  verse,  that  is,  in  iambic  pentameter,  unrhymed. 
There  are,  however,  many  shorter  lines,  of  two,  three, 
or  four  feet ;  sometimes  parts  of  the  plays  are  in  rhyme ; 
and  parts  are  merely  prose.  Knowledge  of  the  mean- 
ings of  the  terms  iambic,  pentameter,  unrhymed,  and 
rhymed  may  perhaps  be  assumed  to  be  possessed  by 
the  high  school  student  who  is  ready  for  the  stud^  of 
As  You  Like  It,  since  such  a  student  has  probably 
studied  in  class  at  least  one  play  of  Shakespeare.  As 
You  Like  It  is  rarely  inserted  in  a  course  as  the  first 
of  the  dramatist's  plays  to  be  studied.  Yet,  by  way  of 
clinching  one's  ideas  on  the  subject,  one  will  not  be 
harmed  by  reading  an  explanation  in  simple  language 
of  what  is  meant  by  these  different  terms. 

Iambic,  as  used  above,  means  a  kind  of  verse  in  which 
the  accent  falls  on  the  second  of  each  pair  of  syllables 
which  make  up  the  verse.  For  instance,  the  word 
applied,  which  no  one  would  think  of  pronouncing 
applied,  is  a  plain  example  of  two  syllables  of  which 
the  second  is  accented.  If  you  put  any  two  syllables 
side  by  side  in  this  way  in  a  line  of  poetry,  you  have 
what  is  called  an  iambic  foot.     Add  now  two  more 


VERSE  STRUCTURE  xlvii 

syllables,  of  which,  one  is  not  accented  and  the  other 
is  accented,  and  you  have  two  iambic  feet.  Now  let  a 
cross  (x)  stand  for  the  unaccented  syllable  and  an 
accent  (/)  stand  for  the  accented  syllable.  A  line  of 
this  kind,  called  iambic  dimeter,  may  be  represented 
thus:-  X    /    I    X    / 

Instead  of  the  cross  (  x ),  some  writers  of  text-books  use 
the  breve  (v^)  to  represent  unaccented  syllables;  they 
use  the  macron  (_)  to  represent  accented  syllables.  It 
is  easy  to  construct  iambic  dimeter  lines,  as  "Defend 
yourself,"  taken  from  one  of  Oliver  Herford's  jingles, 
or  "  Begone,  I  say,"  from  III,  4  of  As  You  Like  It. 
Turn  to  the  song  in  the  second  scene  of  Act  IV  for 
another  example.  A  line  in  which  there  are  six 
syllables  arranged  with  alternation  of  unaccented 
and  accented  syllables  is  called  iambic  trimeter,  e.g.^ 
"  Sweet  lovers  love  the  spring " ;  and  one  of  eight 
syllables,  iambic  tetrameter,  e.g.,  "  And  then  I'll  study 
how  to  die."  Now  we  come  to  the  most  frequent 
kind  of  line  in  the  plays,  iambic  pentameter,  as 

"  'Tis  n6t  your  Inky  brows,  your  bldck  silk  hair." 

The  above  is  a  perfect  pentameter  line.  Not  all 
of  Shakespeare's  iambic  pentameters  are  perfect; 
there  are  a  few  little  quirks  in  the  verse  structure. 
Occasionally  there  is  an  extra  unaccented  syllable  at 


slviii  INTRODUCTION 

the  end  of  the  line,  so  that  the  last  foot  looks  like  this : 
X  /  X  and  is  called  amphibrach.  Sometimes,  too, 
instead  of  an  iambic  foot  there  may  be  a  foot  consist- 
ing of  two  unaccented  syllables  followed  by  an 
accented,  viz.,  an  anapestic  foot;  or  there  maybe,  par- 
ticularly at  the  beginning  of  the  line,  a  foot  consisting 
of  an  accented  and  an  unaccented  syllable,  viz.,  a 
trochaic  foot.  With  these  exceptions,  the  pentameters 
are  fairly  regular. 

Unrhymed.     Turn  to  III,  5, 47  in  As  You  Like  It  : 
"  Your  bugle  eye-balls  nor  your  cheek  of  cream." 

You  observe  that  this  line  immediately  follows  the  line 
quoted  above  regarding  the  inky  eyebrows.  Line  46 
ends  with  the  word  "  hair,''  and  line  47,  with  the  word 
"  cream."  The  two  words  do  not  sound  at  all  alike. 
They  end  in  different  consonants,  and  their  vowel 
sounds  are  different ;  the  lines,  that  is,  do  not  rhyme. 
Most  of  Shakespeare's  iambic  pentameters  are  like 
these  in  that  they  do  not  rhyme. 

Rhymed.  On  the  other  hand,  scattered  through 
As  You  Like  It  are  various  songs  in  which  the  words 
at  the  ends  of  two  successive  lines  do  sound  alike  : 

"  You  and  you  no  cross  shall  part, 
You  and  you  are  heart  in  heart." 


VERSE   STRUCTURE  xlix 

Except  for  the  initial  letter,  the  word  "part"  has  the 
same  sound  as  the  word  "  heart."  These  two  words 
rhyme,  and  the  poetry  here  is  called  rhymed. 

Just  as  frequent  in  the  songs  as  the  lines  in  which 
the  last  syllable  of  a  line  sounds  like  the  last  syllable 
of  the  next  line  are  verses  like  the  following:  — 

"  Why  should  this  a  desert  be  ? 
For  it  is  unpeopled  ?    No  ; 
Tongues  I'll  hang  on  every  tree, 
That  shall  civil  saying  show." 

In  the  above,  notice  that  the  word  "  be,"  which  ends 
the  first  line,  rhymes  with  ^'  tree,"  which  ends  the 
third  line  ;  and  that  "  No  "  rhymes  with  "  show." 

Thus  far,  what  has  been  said  in  an  elementary  way 
on  the  verse  structure  would  apply  to  almost  any  of 
Shakespeare's  plays.  There  are  a  few  peculiarities  in 
As  You  Like  It  that  deserve  especial  attention.  First 
of  all,  it  may  be  remarked  that  while  in  a  play  like 
Julius  CcBsar  the  parts  in  prose  are  less  than  seven  per 
cent,  of  the  whole,  in  As  You  Like  It  the  proportion  is 
fifty-eight  per  cent.  Why  this  difference  is  found  need 
not  be  discussed  here;  the  student  himself  should 
ponder  the  matter.  Again,  there  are  in  the  play  cer- 
tain lines  which  offer  individual  peculiarities  of  scan- 
sion, as  for  instance  the  following  \  — 


1  INTRODUCTION 

II,  1,  18.  Buke  Senior  ends  his  famous  speech 
in  praise  of  the  sylvan  life  by  the  words,  "  I  would 
not  change  it."  These  words  begin  a  new  line  of 
the  play,  but  evidently  cannot  be  twisted  into  a  pen- 
tameter. The  truth  is  that  the  completed  pentameter 
verse  continues  with  the  words  by  which  Lord  Amiens 
begins  his  reply  to  the  Duke,  "Happy  is  your  Grace." 
The  perfect  pentameter  line  is,  then  :  — 

"  I  would  not  change  it.    Happy  is  your  Grace," 

which  consists  of  parts  of  two  speeches.  This  pecu- 
liarity, common  in  the  plays  of  Shakespeare,  must  be 
kept  in  mind  when  one  is  counting  the  lines  of  a 
scene.  Another  line  of  this  sort  is  line  25  of  the  same 
scene  :  — 

"  Have  their  round  haunches  gored.    Indeed,  my  lord." 

II,  1,  31. 

' '  Under  an  oak  whose  antique  root  peeps  out.' ' 

In  order  to  scan  this  line  smoothly  it  is  necessary  to 
accent  "  antique  "  on  the  first  syllable.  Other  cases 
where  words  must  be  pronounced  with  an  accent  dif- 
ferent from  the  normal  pronunciation  of  our  day  will 
be  met  elsewhere  in  the  play. 
II,  4,  36. 

"  Thou  hast  not  loved." 

Note  that  this  short  line  is  repeated  in  39  and  42. 


VERSE    STRUCTURE  ]i 

II,  4,  67  and  68. 

"  Peace,  fool :  he's  not  thy  kinsman.     Who  calls  ? 
Your  betters,  sir.     Else  are  they  very  wretched." 

It  is  sometimes  puzzling  to  know  whether,  when  a  line 
seems  to  be  made  up  of  parts  of  two  speeches,  it  would 
not  be  better  to  call  the  words  plain  prose.  Line  67 
is  difficult  of  pentameter  scansion,  but  68  is  quite 
easy. 

II,  4,  99  and  100. 

' '  I  will  your  very  faithful  feeder  be 
And  buy  it  with  your  gold  right  suddenly.'* 

Notice  the  rhyme.     This  is  a  couplet. 

II,  7,  152. 

"  Seeking  the  bubble  reputation." 

At  first  glance  this  would  seem  to  be  either  prose,  or 
else  too  short  for  a  pentameter.  The  dramatist  would 
evidently  have  the  last  word  pronounced  as  of  five 
syllables  :  rep-u-ta-ti-on. 

III,  2,  133-162.  It  is  possible  to  read  all  these  Imes 
as  iambics,  with  an  unaccented  syllable  missing  at 
the  beginning  of  most  of  the  lines. 

Ill,  4,  59. 

"  If  you  will  mark  it.     0,  come,  let  us  remove." 

Here  the  exclamation  "  0  "  is  slipped  into  the  line 
without  effect  on  the  scansion. 


lii  INTRODUCTION 

TTT    ^    *^7 

'    '  *"  *  "That  can  do  hurt.    0  dear  Phebe." 

One  of  the  editors  prints  "deere"  instead  of  "dear," 
and  suggests  that  the  word  is  pronounced  as  a  dissyl- 
lable, and  that  there  should  be  a  derisive  laugh  at  the 
end  of  "  Phebe." 
Ill,  5,  77. 

"  Come,  sister.    Shepherdess,  look  on  him  better." 

Here  is  a  line  where,  in  reading  according  to  natural 
prose  emphasis,  five  accents  appear.     Can  the  line  be 
"  scanned  "  ? 
V,  4, 184. 

*'  Play,  music  !    And  you,  brides  and  bridegrooms  all." 

Try  to  read  this  line  with  five  accents. 

By  reference  to  any  of  the  rhetorics  which  have 
chapters  on  versification  the  student  will  find  no  dif- 
ficulty in  working  out  the  scansion  of  other  lines  which 
may  seem  puzzling  at  first  view.  Chapter  VI  of  Hart's 
Composition  and  Rhetoric  (Kevised  Edition)  will  be 
found  particularly  good.  Chapter  IX  of  Watrous's 
Composition  and  Rhetoric  and  Appendix  F  of  Scott 
and  Denney's  Composition- Rhetoric  will  also  be  found 
helpful. 


SUBJECTS   FOR    COMPOSITION 


SUBJECTS  FOE  COMPOSITION 

1.    Develop  the  following  topic  sentences :  — 
a.   The  words  "  shrunk  shank,"  in  II,  7,  161,  are 
\or  are  not]  a  blemish  in  Jaques's  otherwise  admirar 
ble  comparison  of  the  world  to  a  stage. 

^^Duke  Senior  had  no  truly  excellent  character- 
istics ;  he  was,  in  fact,  conceited  and  pompous. 

c.  It  is  hard  to  see  how  any  one  can  help  admirini,' 
the  simple,  unaffected  character  of  Rosalind's  father. 

d.  Shakespeare  uses  many  words  in  senses  peculiar 
or  unknown  at  the  present  time. 

e.  For  real  helpfulness  to  me  I  think  it  is  better 
that  I  should  look  up  puzzling  words  in  the  diction- 
aries than  that  I  should  merely  try  to  commit  to 
memory  the  explanations  found  in  some  annotated 
editions. 

/.  Even  if  I  have  to  spend  as  long  a  time  in  the 
work  as  in  mastering  difficult  problems  in  mathe- 
matics, it  is  worth  while  for  me  to  study  out  by  com- 
parison of  various  dictionaries  the  exact  meanmg  of 
hard  passages  in  As  Yoa  Like  It. 

g.  Study  of  the  structure  of  As  You  Like  It  helps 
the  pupil  to  appreciate  better  the  qualities,  good  or 
bad,  of  any  comedy.  ^         , 

h.   Compared  with  As  You  Lik.  It,  most   modern 


liy  INTRODUCTION 

comedies  now  being  played  are  decidedly  inferior  in 
certain  important  respects. 

2.  Formulate  into  a  series  of  short  propositions, 
modelled  somewhat  after  those  of  Corin,  III,  2,  24-32, 
the  philosophy  of  Touchstone,  of  Duke  Senior,  oi 
Jaques;  of  Cassius  {Julius  Ccesar),  of  Shylock  (TJie 
Merchant  of  Venice),  of  Malcolm  (Macbeth) ;  of  Dolly 
Winthrop  (Silas  Marner),  of  Hawkey e  (TJie  Last  of 
the  Mohicans),  of  Colonel  Lambert  (The  Virginians), 
of  the  Clerk  of  Copmanhurst  (Ivanhoe),  and  of  the 
Spectator  (Sii"  Roger  de  Coverley  Papers). 

3.  Present  as  fully  and  clearly  as  you  can  an 
idea  of  what  kind  of  person  Orlando  was,  by  each  of 
the  following  methods :  — 

a.  Imagine  a  couple  of  Oliver's  servants  talking 
about  Orlando  and  reproduce  what  you  think  they 
might  have  said. 

b.  Eelate  in  dialogue  form  what  two  court  beauties 
other  than  Rosalind  and  Celia  might  have  said  to  each 
other  concerning  the  strong  young  wrestler  who  over- 
came and  disabled  the  veteran  Charles.  Perhaps  let 
these  imaginary  young  women  talk  over  the  match 
just  after  its  occurrence. 

c.  Eeproduce  an  imaginary  conversation  in  which 
three  of  the  court  gallants  comment  on  Orlando's  skill 
or  good  luck. 

d.  Write  a  monologue  in  which  Orlando  shall  utter 


SUBJECTS    FOR    COMPOSITION  Iv 

the  thoughts  that  might  have  come  to  him  when  he 
was  in  the  forest  hunting  for  food  for  Adam. 

e.  Kelate  briskly  and  in  condensed  form  what 
Orlando  actually  does  in  the  play. 

/.  Write  a  longer  composition  combining  the  three 
methods  of  presenting  Orlando's  character  by  what 
people  say  about  him,  by  what  he  says  himself,  and 
by  what  he  does. 

4.  Describe  fully  the  Forest  of  Arden,  bringing  in 
all  details  that  you  find  in  the  play. 

5.  Discuss  the  use  of  puns  in  the  play. 

6.  It  is  said  that  running  through  the  whole  play 
there  is  a  vein  of  sadness.  Point  out  the  parts  of  the 
play  that  show  this  sadness. 

7.  The  romance  of  Corin  and  Audrey  is  thought  by 
some  persons  to  be  a  parody  of  that  of  Eosalind  and 
Orlando.     Show  how  far  this  is  true. 

8.  Explain  to  what  extent  the  pastoral  life  repre- 
sented in  As  Tou  Like  It  is  artificial  [or  natural]. 

9.  Compare  the  kind  of  clothes  men  wore  in  the 
early  part  of  the  sixteenth  century  with  the  kind  they 
wear  in  the  twentieth. 

10.  Comment  on  the  language  and  grammar  of  the 
play,  including  discussions  of  Shakespeare's  use  of 
infinitives  and  words  in  peculiar  senses. 

11.  Translate  II,  1,  5-17  into  literal  prose,  and  then 
compare  closely  with  the  original.     Try  after  this  to 


Ivi  INTRODUCTION 

insert  a  little  figurative  language  into  your  paraphrase, 
and  decide  whether  you  can  improve  your  writing  in 
this  way. 

12.  Prove  that  the  Forest  of  Arden  of  As  You  Like 
It  was  in  England  [or  was  not  in  England]. 

13.  Show  the  relation  between  the  development  of 
the  action  of  Act  II  and  the  shifting  of  the  scene 
from  the  forest  to  the  palace,  to  the  garden,  and  back 
to  the  forest.  Ingenuity  and  skill  of  a  high  order  are 
to  be  discovered  here  by  a  careful  study  of  the  dram- 
atist's method. 

14.  Translate  II,  3,  38-53  and  II,  3,  56-68  into 
your  own  words,  making  it  plain  by  your  rewriting 
that  you  understand  the  figures  of  s^Deech  in  the  two 
passages. 

15.  Narrate  fully  what  each  character  does  in  the 
play. 

16.  Describe  the  circumstances  under  which  the  fol- 
lowing was  uttered  and  explain  its  meaning :  — 

"  And  this  our  life,  exempt  from  public  haunt, 
Finds  tongues  in  trees,  books  in  the  running  brooks, 
Sermons  in  stones,  and  good  in  everything." 

17.  Kosalind  has  been  called  "  one  of  the  most  en- 
chanting women  in  literature."  Show  by  comparison 
with  other  women  in  English  literature  that  this  is  a 
true  characterization. 


SUBJECTS  FOR  COMPOSITION  1 


vu 


18.  Write  an  imaginary  dialogue  between  Gauimede 
and  Orlando  of  about  two  hundred  words  in  iambic 
pentameter  verse. 

19.  Mr.  Eolfe,  as  the  result  of  a  painstaking 
count  of  the  number  of  lines  spoken  by  each  char- 
acter in  the  play,  finds  that  Rosalind  spoke  749 
lines,  which  is  a  greater  number  than  those  spoken 
by  any  other  woman  in  Shakespeare ;  that  Orlando 
spoke  322 ;  Touchstone,  316 ;  Celia,  304 ;  and  Jaques, 
235.  Show  the  bearing  of  these  statistics  on  the 
relative  importance  of  the  above  characters  in  the 
drama. 

20.  Expand  into  short  paragraphs,  of  about  seventy- 
five  words  each,  the  following  comments  by  different 
authors  on  various  points  of  the  play :  (a)  "  The  deli- 
cate vein  of  satire  in  As  You  Like  It  is  what  keeps  it 
from  lapsing  into  sham.  '*  (6)  '^As  You  Like  It  is  less 
magnificent  than  the  Merchant  of  Venice,  yet  it  keeps 
up  and  leaves  a  more  uniformly  pleasurable  impres- 
sion." (c)  '•  There  is  hardly  a  play  of  Shakespeare 
that  contains  a  greater  number  of  phrases  that  have 
become  in  a  manner  proverbial."  {d)  "The  interest 
of  As  You  Like  It  arises  more  out  of  the  sentiments 
and  character  than  out  of  the  actions  or  situations. 
It  is  not  what  is  done,  but  what  is  said,  that  claims 
our  attention."  (e)  "  The  moral  is  not  how  to  bear  mis- 
fortune with  a  cheery  mind,  but  how  to  read  the  lessons 


IVlll 


tNTRODUCTtON 


in  the  vicissitudes  of  physical  nature."  (/)  "  Orlando 
is  the  despairing  toy  of  chance,  followed,  comforted, 
saved  by  Eosalind." 


QUESTIONS  ON  THE  PLAY 

Questions  on  the  plot  and  on  the  methods  of  dra- 
matic construction  in  the  play  are  assembled  in  one 
place,  instead  of  being  scattered  through  the  notes. 
It  is  not  to  be  conceived,  however,  that  the  editor 
would  advise  the  pupil  to  turn  himself  loose  upon  all 
these  questions  at  once.  It  is  much  wiser  to  study 
them  a  scene  or  two  at  a  time,  so  that  the  danger  of 
mental  indigestion  may  be  avoided.  By  this  mode 
the  pupil  will  grasp  the  significant  points  of  the  play 
and  cannot  fail  to  comprehend  better  the  methods  and 
problems  of  the  dramatist.  In  appreciating  these,  one 
will  gain  something  that  will  be  of  value  in  one's  in- 
dependent reading  of  plays  of  Shakespeare  not  usually 
studied  in  school. 

I,  1.  What  happens  in  this  scene  ?  What  persons 
do  what  things  or  say  what  ?  AYliat  is  the  character 
of  the  principal  actors  ?  Do  you  admire  either  of 
these  ?  Why  ?  What  might  you  expect  Orlando  to 
do  if  given  the  one  thousand  crowns  ?  Why  does  Oli- 
ver ask  Charles  if  he  can  tell  whether  or  not  Rosalind 


QUESTIONS   ON    THE   PLAT  lix 

is  banished  with  her  father?     Why  is  Adam   intro- 
duced in  this  scene  ? 

I,  2.  Why  is  the  scene  abruptly  shifted  from  an 
^^ orchard  of  Oliver's  house"  to  a  "lawn  before  the 
Duke's  i^alace  "  ?  Does  the  dramatist  give  us  all  that 
you  imagine  Kosalind  and  Celia  said  ?  What  persons 
take  part  in  the  action  of  this  scene  ?  What,  in  brief, 
does  each  one  do  or  say  ?  What  words  in  the  scene 
are  used  in  senses  that  seem  unusual  ?  Why  is  not 
the  wrestling  match  between  Charles  and  the  three 
brothers  performed  on  the  stage  ?  W^hy,  on  the  other 
hand,  is  the  match  between  Charles  and  Orlando  actu- 
ally represented  in  the  scene,  instead  of  being  told  by 
some  one  to  the  young  ladies  ? 

I,  3.  Why  does  this  scene  begin  thus  abruptly  ? 
Why  is  Rosalind  sad  ?  At  the  close  of  Act  I,  how  do 
you  conjecture  that  the  action  will  be  developed? 
What  further  might  you  expect  Eosalind  to  do? 
Celia?  Orlando?  Oliver?  Duke  F.?  Touchstone? 
What  part  do  you  imagine  Charles  and  Le  Beau  will 
play  in  the  later  development  of  the  action  ?  Who 
proposes  the  plan  to  fly  to  the  forest  ?  Is  this  signifi- 
cant of  her  character  ? 

II,  1.  What  figures  of  speech  are  found  in  this 
scene  ?  Why  are  they  used  instead  of  plain,  literal 
statements  ?  Does  the  conversation  seem  natural  ? 
Do  you  think  any  duke  ever  talked  to  his  followers  as 


Ix  INTRODUCTION 

Duke  S.  talks  to  Amiens?  Are  the  characters  real 
live  persons  or  merely  like  marionettes  moved  about 
at  the  whim  of  the  author  ?  Do  you  find  any  indica- 
tion regarding  the  time  of  day  or  the  period  in  the 
world's  history  at  which  this  scene  is  supposed  to 
take  place?  Where  is  the  Forest  of  Arden?  How 
does  Jaques  come  to  be  in  the  forest  ?  With  what 
single  adjective  would  you  characterize  Jaques,  —  sad, 
cheerful,  sober,  serious,  witty,  or  what  ?  Do  any  of 
the  verbs  and  adjectives  seem  to  lend  particular  vivid- 
ness or  liveliness  to  the  scene  ?  Is  any  part  of  the 
scene  pathetic  ? 

II,  2.  What  contrast  is  there  between  the  spirit  or 
tone  of  scenes  1  and  2  ?  Does  there  appear  to  be  any 
artistic  reason  for  this  contrast  ?  Does  it  seem  natu- 
ral that  the  daughter  of  Duke  Frederick  should  love 
the  daughter  of  Duke  Senior  ?  When  is  the  flight  of 
the  girls  reported  to  Duke  Frederick  ? 

II,  3.  About  how  old  was  Adam  in  the  play  ? 
What  is  the  figure  in  "  But,  poor  old  man,  thou  prunest 
a  rotten  tree  "  ? 

II,  4.  Would  it  be  difficult  for  a  boy  to  play  the 
part  of  Eosalind  in  this  scene  ?  What  feminine  traits 
does  the  disguised  Rosalind  show  in  this  scene  ?  Why 
does  Rosalind  love  Celia  ?  Why  are  Eosalind  and 
Celia  in  the  Forest  of  Arden  ?  Do  they  appear  to  be 
making  haste  to  accomplish  their  purpose  ?     Can  you 


QUESTIONS   ON    THE   PLAY  Ixi 

picture  to  yourself  Corin  and  Silvius  entering  in 
solemn  talk?  Where  are  Rosalind  and  Celia  while 
Silvius  and  Corin  are  talking  ?  What  is  Touchstone 
doing  at  this  time  ? 

II,  5.  V/hy  does  this  scene  begin  with  a  song  ? 
How  does  the  talk  between  Amiens  and  Jaques  ad- 
vance the  action  of  the  play  ? 

II,  6.  What  later  actions  might  you  expect  Orlando 
to  perform  after  he  has  promised  that  he  will  get 
something  to  eat  for  Adam,  if  there  is  any  live  thing 
in  the  "  desert "  ? 

II,  7.  AVhere  is  the  greater  part  of  Act  II  set  ? 
AVhy  here  ?  Can  you  conjecture  what  may  have  been 
going  on  at  court  meanwhile  ?  What  is  the  figure  of 
speech  in  "  Blow,  blow,  thou  winter  wind  "  ? 

III,  1.  Why  does  Duke  F.  wish  Oliver  to  find 
Orlando  ? 

Ill,  2.  Would  a  real  live  shepherd  talk  as  Corin 
talks  in  this  scene  ?  Do  you  find  Touchstone  a  par- 
ticularly amusing  person  ?  Do  you  think  Rosalind  is 
merely  feigning  that  she  cannot  guess  who  was  the 
author  of  the  verses  ?  What  characteristic  does  Celia 
show  in  this  scene  ?  Is  Rosalind  fair  to  her  sex  in 
saying,  "  Do  you  not  know  I  am  a  woman  ?  When  I 
think,  I  must  speak  "  ?  Who  in  this  scene  is  most 
successful  at  retort?  What  is  the  most  cutting  re- 
mark made  in  the  scene  ?     What  figure  of  speech  do 


Ixii  INTRODUCTION 

you  observe  in  "  the  lazy  foot  of  time  "  ?  When  were 
clocks  first  used  ?  When  Eosalind  makes  her  state- 
ments on  page  ^Q,  why  does  not  Orlando  ask  her  to 
explain  them  in  regular  succession  ?  Is  it  plausible 
for  Orlando  not  to  recognize  Rosalind  ?  Do  madmen 
now  "  deserve  well  a  dark  house  and  a  whip  "  ?  What 
has  Celia  been  doing  in  the  course  of  this  scene  as  told 
by  Shakespeare,  and  filled  out  by  yourself  ? 

IIIj  3.  What  is  the  use  in  introducing  Audrey  into 
the  comedy  ?  Do  you  see  any  significance  in  the  name 
Sir  Oliver  Martext  ?  Was  Touchstone  a  person  of 
good  breeding  and  manners  ? 

Ill,  4.  What  puns  have  you  noticed  in  the  play 
thus  far  ?  When  did  Orlando  swear  that  he  "  would 
come  this  morning  "  ? 

III,  o.  How  does  this  scene  advance  the  action  of 
the  play?  What  is  the  use  of  the  scene?  What 
might  Eosalind  say  to  Celia  in  talking  over  with  her 
the  love-making  of  Silvius  ?  What  did  Eosalind  look 
like,  dressed  as  a  man  ?  (Try  to  make  a  pen  or  pencil 
sketch  of  her;  do  not  be  abashed  if  your  success  is  not 
remarkable.) 

IV,  1.  Express  in  a  single  short  paragraph  what  has 
happened  in  the  play  up  to  Act  IV.  Why  does  Eosa- 
lind go  through  with  the  mock  marriage  ?  Who  shows 
off  the  better  in  this  scene,  Eosalind  or  Celia  ? 

IV,  2.   How  does  this  scene  advance  the  action  of 


QUESTIONS   ON    THE   PLAY  Ixiii 

the  play?     Why  not  omit  it?     What  is  gained  by 
it? 

IV,  3.  AYhat  was  Phebe's  personal  appearance? 
What  use  is  made  of  description  in  this  scene  ?  What 
was  Celia's  complexion  ?  Is  it  true  that  the  disposi- 
tion of  a  lion  is  not  to  prey  on  anything  that  seems 
dead  ?  In  line  128,  who  saw  Orlando  twice  turn  his 
back  ?  How  do  you  know  that  he  actually  did  this  ? 
Why  does  not  Celia  rather  than  Eosalind  ask  about 
the  napkin  stained  with  blood  ?  Is  Eosalind's  swoon 
counterfeit  ?  Does  Oliver  in  line  174  know  that  Eosa- 
lind  is  merely  masquerading  ?  Is  it  natural  that  Oliver 
should  be  so  suddenly  transformed  in  character  ? 

V,  1.  Has  there  been  a  hero  in  the  play  up  to  Act 
V?  a  heroine?  What  do  you  mean  by  the  words 
"  hero  "  and  "  heroine  "  ?  Through  the  fourth  act  do 
you  consider  the  play  a  comedy  ?  Point  out  elements 
of  comedy  in  this  drama. 

V,  2.  Is  it  reasonable  to  suppose  that  Orlando  would 
continue  through  this  scene  unaware  that  Ganymede 
is  Rosalind  ?  What  effect  does  the  dramatist  gain  by 
the  repetition  in  lines  90-112  ? 

V,  3.    What  is  this  scene  for  in  the  play  ? 

V,  4.  How  much  time  elapses  in  the  play  ?  (Make 
an  analysis  scene  by  scene.)  Is  Rosalind  actually 
married  to  Orlando  in  the  play  ?  ^Miat  is  the  function 
of  Rosalind's  speech  in  lines  19-23?   Does  the  speech 


IxiV  INTRODUCTION 

add  any  new  material?  What  is  tlie  purpose  of 
Touchstone's  speech  in  lines  94-108?  Does  it  seem 
natural  that  Duke  S.  should  merely  recognize  certain 
"lively  touches  of  his  daughter's  favor''  in  Gany- 
mede ?  Is  it  plausible  that  Phebe  should  recognize  in 
Kosalind,  dressed  in  feminine  apparel,  the  same  Gany- 
mede with  whom  she  had  fallen  in  love  ?  (See  lines 
126-127.)  Who  are  the  eight  that  must  take  hands 
to  join  in  Hymen's  bands  ?  Is  the  conversion  of  Duke 
F.  natural  ?  Where  has  Jaques  de  Boys  been  all  this 
time  ?  Should  the  dramatist  be  criticised  adversely 
for  calling  him  Jaques  de  Boys  ? 

Epilogue.     Why  is  the  epilogue  added  ?     Does  it 
continue  the  action  of  the  play  ?     Is  it  entertaining  ? 


BIBLIOGRAPHY 

The  books  which  will  be  found  most  serviceable  in 
such  study  of  A,  T.  L.  as  is  recommended  in 
the  Prefatory  Note  are :  first,  those  dealing  with  the 
life  and  personality  of  Shakespeare,  —  the  drama  will 
be  better  understood  if  studied  in  connection  with  the 
character  of  the  dramatist  and  the  incidents  of  his 
life;  secondly,  editions  of  this  particular  play;  and 
lastly,  books  of  general  service  in  Shakespearian 
study. 


BIBLIOGRAPHY  Ixv 

1.  Life  and  Personality.  Probably  Mr.  Sidney  Lee's 
A  Life  of  William  Shakespeare  (The  ^Eacmillan  Com- 
pany) and  Mr.  Hamilton  Wright  Mabie's  William 
Shakespeare :  Poet,  Dramatist,  and  Man  will  be  found 
most  valuable.  Mr.  Lee's  bibliography,  pages  299-325, 
is  full  and  luminous.  His  statement  of  facts  regard- 
ing the  life  may  usually  be  accepted  without  reserva- 
tion. Mr.  Mabie's  book  is  noteworthy  for  the  graces 
of  style  and  the  penetrating  criticism  always  looked 
for  in  a  work  by  this  pleasing  essayist.  Both  books 
should  be  in  the  library  of  the  school  and  in  the 
teacher's  private  collection.  Among  other  works  in 
connection  with  the  life  and  character  of  Shakespeare 
may  be  mentioned  the  following  good  books  :  E.  Dow- 
den's  Shakspere,  in  the  Literature  Primers  of  D. 
Appleton  &  Co.,  1885;  G.  Brandes's  William  Shake- 
speare: A  Critical  Study;  F.  G.  Fleay's  The  Life  and 
Work  of  Shakespeare;  and  E.  G.  White's  Memoirs  of 
the  lAfe  of  William  Shakespeare,  "with  an  essay  toward 
the  expression  of  his  genius  and  an  account  of  the  rise 
and  progress  of  the  English  drama."  If  these  works 
are  in  the  school  library  or  in  a  local  free  library,  it 
would  be  well  for  the  teacher  to  assign  them  to  differ- 
ent pupils  for  home  reading  and  subsequent  reports 
to  the  class. 

2.  Editions  of  A.  Y.  L.  First,  of  course,  among 
single  editions  is  the  volume  qI  4^   Fot*  Like  It  in 


Ixvi  INTRODUCTION 

Furness's  monumental  variorum  edition  of  Shake- 
speare. Then  comes  Eolfe's  excellent  edition,  with 
its  complete  and  accurate  index.  Gollancz's  glossary 
in  the  Temple  Shakespeare  will  also  be  found  useful. 
3.  General  Reference  Books.  A  pamphlet  by  J.  0. 
Halliwell-Phillipps,  privately  printed,  a  copy  of  which 
may  be  consulted  in  the  Astor  Library,  New  York 
City,  is  of  unusual  interest  in  connection  with  the 
question  of  how  to  spell  Shakespeare's  name.  The 
pamphlet  is  entitled,  Neio  Lamps  or  Old?  The  author 
shows  conclusively  that  the  name  should  be  written 
Shakespeare.  Granting  that  in  the  time  of  the 
dramatist  this  was  not  always  the  spelling,  Mr.  Hal- 
liwell-Phillipps  says ;  "  There  was  then  no  settled 
orthography  of  surnames  and  a  signature  of  those 
days  is  not  conclusive  evidence  of  the  mode  in  which 
a  person's  name  should  be  spelt."  By  way  of  illustra- 
tion, he  continues  :  "  Burbage  sometimes  wrote  Bur- 
badg,  while  his  brother  signed  himself  Burbadge.  One 
of  the  poet's  sons-in-law  wrote  himself  Quyney,  Quy- 
neye,  and  Conoy,  while  his  brother,  the  curate,  signed 
Quiney.  Similar  variations  occur  in  Christian  names 
of  the  time,  that  of  the  poet's  friend  Julius  Shaw 
positively  appearing  as  Julyus,  Julius,  Julie,  Julyne, 
Jnle,  Julines,  Julynes,  July,  Julye,  Julyius,  and 
Julyles."  Three  of  Shakespeare's  undisputed  signa- 
tures were  in  the  form  Shakspere,  to  be  sure,  but  two 


BIBLIOGRAPHY  Ixvii 

printed  letters  have  Shakespeare.  Though  the  poet 
usually  wrote  Shakspere,  his  brother  signed  Shake- 
spere.  The  name  is  spelled  Shakespeare  in  the  only 
two  works  printed  under  the  poet's  own  superinten- 
dence. In  the  earliest  notice  of  the  dramatist  by 
name  in  printed  literature  the  surname  appears  with 
a  hyphen,  Shake-speare.  To  indicate  the  pronuncia- 
tion, the  longer  form  was  always  preferred.  Ben 
Jonson  wrote  that  Shakespeare  seemed  to  shake  a 
lance  in  every  line  and  brandish  it  in  the  eyes  of 
ignorance.  "The  only  method  of  reconciling  these 
inconsistencies  is  to  adopt  the  name  as  it  is  bequeathed 
to  us  by  his  contemporaries."  It  is  safe  to  say  that 
the  form  Shakespeare  is  preferred  now  by  the  great 
majority  of  scholars. 

Among  general  reference  books  that  are  useful  in 
the  study  of  A.  Y.  L.  the  large  dictionaries  should 
have  a  prominent  place.  Murray's  Neio  English  Dic- 
tionary, so  far  as  it  has  been  completed,  will  be  found 
best.  For  the  study  of  puzzling  questions  of  gram- 
mar, Edwin  A.  Abbott's  A  Shakespearian  Grammar 
(Macmillan  &  Co.,  1876)  may  be  recommended.  Stu- 
dents familiar  with  German  will  do  well  to  consult 
frequently  Franz's  Shakespeare- Grammatik,  in  two  vol- 
umes, Halle,  1898,  1900.  In  the  study  of  A.  T.  L. 
as  a  play,  Freytag's  Teknik  des  Dramas  (translated  by 
MacEwan)  and  W.  H.  Fleming's  Shakespmre's  Plots 


ixviii  INTRODUCTION 

should  not  be  neglected.  Other  good  reference  books 
are  Doran's  History  of  Court  Fools  and  Donee's  Dis- 
sertation on  the  Clowns  and  Fools  of  Shakespeare; 
Knight's  History  of  England  and  his  pictorial  edition 
of  Shakespeare ;  Henry  Giles's  Human  Life  in  Shake- 
speare; and  Shakespeare^ s  Library,  edited  by  W.  C. 
Hazlitt,  the  second  volume  of  which  contains  a  reprint 
of  Lodge's  Rosalynde.  Park  Goodwin's  A  New  Study 
of  the  Sonnets  of  Shakespeare  (June,  1900)  offers  an 
interesting  division  of  the  sonnets,  —  one  half  of  them 
relate,  as  he  thinks,  to  the  passional  experiences  of 
the  poet  under  the  influence  of  a  true  and  a  false 
affection;  one  half  relate  to  his  poetic  development, 
his  aspirations,  aims,  struggles,  disappointments,  and 
final  successes. 


AS  YOU  LIKE  IT 


DEAMATIS  PEESON^ 

Duke,  living  in  banishment. 

Frederick,  his  brother,  and  usurper  of  his  dominions. 

Amiens,  |  ^^^^  attending  on  the  banished  Duke. 

Jaques,  J 

Lb  Beau,  a  courtier  attending  upon  Frederick. 

Charles,  wrestler  to  Frederick. 

Oliver,     ^ 

Jaques,      [■  sons  of  Sir  Bowland  de  Boys. 

Orlando,  J 

_        '    I  servants  to  Oliver. 
Dennis,  J 

Touchstone,  a  clown. 

Sir  Oliver  Martext,  a  vicar. 

'     I  shepherds. 

SiLVIUS,  J 

William,  a  country  fellow,  in  love  with  Audrey, 
A  person  representing  Hymen. 

Rosalind,  daughter  to  the  banished  Duke. 
Celia,  daughter  to  Frederick. 
Phebe,  a  shepherdess. 
Audrey,  a  country  wench. 

Lords,  pages,  and  attendants,  &c. 

Scene  :  Oliver'' s  house  ;  Duke  Frederick's  court ;  and  the 
Forest  of  Arden. 


AS   TOU  LIKE   IT 

ACT  I 

Scene  I.     Orchard  °  of  Oliver's  house 

Enter  Orlando  and  Adam 

Orl.  As  I  remember,  Adam,  it  was  upon  this 
fashion  :  bequeathed"  me  by  will  but  poor  a  thousand" 
crowns,  and,  as  thou  sa^-est,  charged  my  brother,  on 
his  blessing,  to  breed  me  well :  and  there  begins  my 
sadness.  My  brother  Jaques  he  keeps  at  school,  and 
report  speaks  goldenly  of  his  profit :  for  my  part,  he 
keeps  me  rustically  at  home,  or,  to  speak  more  prop- 
erly, stays  me  here  at  home  unkept ;  for  call  you  that 
keeping  for  a  gentleman  of  my  birth,  that  differs  not 
from  the  stalling  of  an  ox?  His  horses  are  bred  lo 
better ;  for,  besides  that  they  are  fair  with  their  feed- 
ing, they  are  taught  their  manage,"  and  to  that  end 
riders  dearly  hired :  but  I,  his  brother,  gain  nothing 
under  him  but  growth ;  for  the  which  his  animals  on 

B  1 


I 

s 

2  AS  YOU  LIKE  IT  [Act  I.  Sc.  i 

his  dunghills  are  as  much  bound  to  him  as  I.  Besides  \ 
this  nothing  that  he  so  plentifully  gives  me,  the  some-  j 
thing  that  nature  gave  me  his  countenance  seems  to  ; 
take  from  me :  he  lets  me  feed  with  his  hinds,  bars  20  . 
me  the  place  of  a  brother,  and,  as  much  as  in  him  lies,  ! 
mines  my  gentility  with  my  education.  This  is  it,  | 
Adam,  that  grieves  me ;  and  the  spirit  of  my  father,  i 
which  I  think  is  within  me,  begins  to  mutiny  against  ! 
this  servitude :  I  will  no  longer  endure  it,  though  yet  ; 
I  know  no  wise  remedy  how  to  avoid  it. 

Adam.   Yonder  comes  my  master,  your  brother.  \ 

OH.  Go  apart,  Adam,  and  thou  shalt  hear  how  he  I 
will  shake  me  up.  30  ' 

Enter  Oliver 

OIL   Now,  sir !  what  make  you  here  ? 

Orl.   Nothing :  I  am  not  taught  to  make°  anything. 

OIL   What  mar  you  then,  sir  ? 

Orl  Marry,  sir,  I  am  helping  you  to  mar  that  which 
God  made,  a  poor  unworthy  brother  of  yours,  with 
idleness. 

OIL  Marry,  sir,  be  better  employed,  and  be  naught° 
awhile.  ! 

Orl  Shall  I  keep  your  hogs  and  eat  husks  with  40  i 
them  ?  What  prodigal  portion"  have  I  spent,  that  I  \ 
should  come  to  such  penury  ?  ; 


Act  I.  Sc.  i.]  AS   YOU  LIKE  IT  3 

on.   Know  you  where  you  are,  sir  ? 

Orl   0,  sir,  very  well ;  here  in  your  orchard. 

on.   Know  you  before  whom,  sir  ? 

Orl  Ay,  better  than  him°  I  am  before  knows  me. 
I  know  you  are  my  eldest  brother ;  and,  in  the  gentle 
condition  of  blood,  you  should  so  know  me.  The  cour- 
tesy of  nations  allows  you  my  better,  in  that  you  are 
the  first-born;  but  the  same  tradition  takes  not  50 
away  my  blood,  were  there  twenty  brothers  betwixt  us : 
I  have  as  much  of  my  father  in  me  as  you ;  albeit,  I 
confess,  your  coming  before  me  is  nearer  to  his 
reverence.  ° 

Oil.   What,  boy ! 

Orl.  Come,  come,  elder  brother,  you  are  too  young 
in  this.° 

Oil   Wilt  thou  lay  hands°  on  me,  villain  ? 

Orl.  I  am  no  villain ;  I  am  the  youngest  son  of  Sir 
Rowland  de  Boys ;  he  was  my  father,  and  he  is  60 
thrice  a  villain  that  says  such  a  father  begot  villains. 
Wert  thou  not  my  brother,  I  would  not  take  this  hand 
from  thy  throat  till  this  other  had  pulled  out  thy 
tongue  for  saying  so :  °  thou  hast  railed  on  thy- 
self. 

Adam.  Sweet  masters,  be  patient:  for  your  father's 
remeLxbrance,°  be  at  accord. 


4  AS  YOU  LIKE  IT  [Act  I.  Sc.  I 

on.   Let  me  go,  I  say. 

Orl  I  will  not,  till  I  please:  you  shall  hear  me. 
My  father  charged  you  in  his  will  to  give  me  good  70 
education:  jou.  have  trained  me  like  a  peasant,  ob- 
scuring and  hiding  from  me  all  gentlemanlike  qualities. 
The  spirit  of  my  father  grows  strong  in  me,  and  I  will 
no  longer  endure  it :  therefore  allow  me  such  exercises 
as  may  become  a  gentleman,  or  give  me  the  poor  al- 
lottery  my  father  left  me  by  testament ;  with  that  I 
will  go  buy  my  fortunes. 

Oli.  And  what  wilt  thou  do  ?  beg,  when  that  is 
spent?  Well,  sir,  get  you  in:  I  will  not  long  be 
troubled  with  you ;  you  shall  have  some  part  of  80 
your  will :  I  pray  you,  leave  me. 

Orl.  I  will  no  further  offend  you  than  becomes  me 
for  my  good. 

Oli.   Get  you  with  him,  you  old  dog. 

Adam.  Is  "old  dog'^  my  reward?  Most  true,  I 
have  lost  my  teeth  in  joui  service.  God  be  with  my 
old  master !  he  would  not  have  spoke°  such  a  word. 

[^Exeunt  Orlaxdo  and  Adam. 

OIL  Is  it  even  so  ?  begin  you  to  grow  upon  me  ?  90 
I  will  physic  your  rankness,  and  yet  give  no  thousand 
crowns°  neither.     Holla,  Dennis  I 


Act  I.  Sc.  i.]  AS   YOU  LIKE  IT  5 

Enter  Dennis 

Den.   Calls  your  worship  ? 

Oil.  Was  not  Charles,  the  Duke's  wrestler,  here  to 
speak  with  me  ? 

Den.  So  please  you,  he  is  here  at  the  door  and  im- 
portunes access  to  you. 

OIL  Call  him  in.  [Exit  Dennis.]  'Twill  be°  a 
good  way ;  and  to-morrow  the  wrestling  is. 

Enter  Charles 

Cha.    Good  morrow  to  your  worship.  loo 

Oli.  Good  Monsieur  Charles,  what's  the  new  news 
at  the  new  court  ?  ° 

Clia.  There's  no  news  at  the  court,  sir,  but  the  old 
news  :  that  is,  the  old  Duke  is  banished  by  his  younger 
brother  the  new  Duke;  and  three  or  four  loving  lords 
have  put  themselves  into  voluntary  exile  with  him, 
whose  lands  and  revenues  enrich  the  new  Duke; 
therefore  he  gives  them  good  leave  to  wander.° 

Oli.  Can  you  tell  if  Kosalind,°  the  Duke's  no 
daughter,  be  banished  with  her  father  ? 

Cha.  Oh,  no;  for  the  Duke's  daughter,  her  cuu.sin, 
so  loves  her,  being  ever  from  their  cradles  bred  to- 
gether, that  she  would  have   followed   her   exile,  or 


6  AS  YOU  LIKE  IT  [Act  I.  Sc.  I 

have  died  to  stay°  behind  her.  She  is  at  the  court, 
and  no  less  beloved  of  her  uncle  than  his  own  daugh- 
ter ;  and  never  two  ladies  loved  as  they  do. 

OIL    Where  will  the  old  Duke  live  ? 

Cha.  They  say  he  is  already  in  the  forest  of  Ar-  120 
den,°  and  a  many  merry  men°  with  him  ;  and  there  they 
live  like  the  old  Kobin  Hood°  of  England :  they  say 
many  young  gentlemen  flock  to  him  every  day,  and  fleet 
the  time  carelessly,  as  they  did  in  the  golden  world. 

OIL  What,°  you  wrestle  to-morrow  before  the  new 
Duke  ? 

Cha.  Marry,  do  I,  sir ;  and  I  came  to  acquaint  you 
with  a  matter.  I  am  given,  sir,  secretly  to  under- 
stand that  your  younger  brother,  Orlando,  hath  a  130 
disposition  to  come  in  disguised  against  me  to  try  a 
fall.  To-morrow,  sir,  I  wrestle  for  my  credit ;  and  he 
that  escapes  me  without  some  broken  limb  shall  acquit 
him  well.  Your  brother  is  but  young  and  tender; 
and  for  your  love°I  would  be  loath  to  foil  him,  as  I 
must,  for  my  own  honor,  if  he  come  in :  therefore,  out 
of  my  love  to  you,  I  came  hither  to  acquaint  you 
withal ;  that  either  you  might  stay  him  from  his  in- 
tendment, or  brook  such  disgrace  well  as  he  shall  140 
run  into ;  in  that  it  is  a  thing  of  his  own  search,  and 
altogether  against  my  will. 


Act  I.  Sc.  i.]  AS   YOU  LIKE  IT  7 

OIL  Charles,  I  thank  thee  for  thy  love  to  me,  which 
thou  shalt  find  I  will  most  kindly  requite.  I  had 
myself  notice  of  my  brother's  purpose  herein,  and 
have  by  underhand  means  labored  to  dissuade  him 
from  it,  but  he  is  resolute.  I'll  tell  thee,  Charles :  — 
it  is  the  stubbornest  young  fellow  of  France ;  full  of 
ambition,  an  envious  emulator  of  every  man's  good 
parts,  a  secret  and  villanous  contriver  against  me  150 
his  natural  brother:  therefore  use  thy  discretion;  I 
had  as  lief  thou  didst  break  his  neck  as  his  finger. 
And  thou  wert  best  look  to't;  for  if  thou  dost  him 
any  slight  disgrace,  or  if  he  do  not  mightily  grace  him- 
self on  thee,  he  will  practise  against  thee  by  poison, 
entrap  thee  by  some  treacherous  device,  and  never 
leave  thee  till  he  hath  ta'en  thy  life  by  some  indirect 
means  or  other;  for,  I  assure  thee,  and  almost  with 
tears  I  speak  it,  there  is  not  one  so  young  and  so  vil- 
lanous this  day  living.  I  speak  but  brotherly  of  160 
him ;  but  should  I  anatomize  him  to  thee  as  he  is,  I 
must  blush  and  weep,  and  thou  must  look  pale  and 
wonder. 

Cha.  I  am  heartily  glad  I  came  hither  to  you.  If 
he  come  to-morrow,  I'll  give  him  his  payment :  if 
ever  he  go  alone°  again,  I'll  never  wrestle  for  prize 
more :  and  so,  God  keep  your  worship  I 


8  AS   YOU  LIKE  IT  [Act  I.  Sc.  il 

OIL  Farewell,  good  Charles,  [^xi^  Charles.]  Now 
will  I  stir  this  gamester:  I  hope  I  shall  see  an  170 
end  of  him ;  for  my  soul,  yet  I  know  not  why,  hates 
nothing  more  than  he.  Yet  he's  gentle;  never 
schooled,"  and  yet  learned ;  full  of  noble  device ;  of 
all  sorts  enchantingly  beloved ;  and  indeed  so  much  in 
the  heart  of  the  world,  and  especially  of  my  own 
people,  who  best  know  him,  that  I  am  altogether  mis- 
prised :  but  it  shall  not  be  so  long ;  this  wrestler  shall 
clear  all :  nothing  remains  but  that  I  kindle  the  boy 
thither  j  which  now  I'll  go  about.  lExiL     180 


Scene  II.     Lmvn  before  the  Duke^s  palace 
Enter  Eosalind  and  Celia 

Cel.   I  pray  thee,  Eosalind,  sweet  my  coz,°  be  merry. 

Ros.  Dear  Celia,  I  show  more  mirth  than  I  am  mis- 
tress of;  and  would  you  yet  I  were  merrier  ?  Unless 
you  could  teach  me  to  forget  a  banished  father,  you 
must  not  learn°  me  how  to  remember  any  extraordi- 
nary pleasure. 

Cel.  Herein  I  see  thou  lovest  me  not  with  the  full 
weight  that  I  love  thee.  If  my  uncle,  thy  banished 
father,  had   banished   thy   uncle,  the   Duke   my     i« 


Act  I.  Sc.  ii.]  AS  TOU  LIKE  IT  9 

father,  so  thou  hadst  been  still  with  me,  I  could  have 
taught  my  love  to  take  thy  father  for  mine :  so  wouldst 
thou,  if  the  truth  of  thy  love  to  me  were  so  righteously 
tempered  as  mine  is  to  thee. 

Ros.  Well,  I  will  forget  the  condition  of  my  estate, 
to  rejoice  in  yours. 

Cel.  You  know  my  father  hath  no  child  but  I,°  nor 
none  is  like  to  have :  and,  truly,  when  he  dies,  thou 
shalt  be  his  heir;  for  what  he  hath  taken  away  20 
from  thy  father  perforce,  I  will  render  thee  again  in 
affection ;°  by  mine  honor,  I  will ;  and  when  I  break 
that  oath,  let  me  turn  monster :  therefore,  my  sweet 
Eose,  my  dear  Eose,  be  merry. 

Ros.  From  henceforth  I  will,  coz,  and  devise 
sports.  Let  me  see ;  what  think  you  of  falling  in 
love  r 

Cel.  Marry,  I  prithee,  do,  to  make  sport  withal :  but 
love  no  man  in  good  earnest;  nor  no  further  in  30 
sport  neither,  than  with  safety  of  a  pure  blush  thou 
mayst  in  honor  come  off  again. 

Ros.   What  shall  be  our  sport,  then  ? 

Cel.  Let  us  sit  and  mock  the  good  housewife  Fortune 
from  her  wheel,  that  her  gifts  may  henceforth  be 
bestowed  equally. 

Bos.   I  would  we  could  do  so;  for  her  benefits  are 


10  AS   YOU  LIKE  IT  [Act  I.  Sc.  ii 

mightily  misplaced ;  and  the  bountiful  blind  woman' 
doth  most  mistake  in  her  gifts  to  women. 

Cel  ^Tis  true ;  for  those  that  she  makes  fair  she  40 
scarce  makes  honest ;  and  those  that  she  makes  honest 
she  makes  very  ill-favoredly.° 

Bos.  Nay,  now  thou  goest  from  Fortune's  office  to 
Nature's :  Fortune  reigns  in  gifts  of  the  world,  not  in 
the  lineaments  of  Nature. 

Enter  Touchstone 

Cel.  No  ?  when  Nature  hath  made  a  fair  creature, 
may  she  not  by  Fortune  fall  into  the  fire  ?°  Though 
Nature  hath  given  us  wit  to  flout  at  Fortune,  hath  not 
Fortune  sent  in  this  fool  to  cut  off  the  argument.      50 

Ros.  Indeed,  there  is  Fortune  too  hard  for  Nature, 
when  Fortune  makes  Nature's  natural  the  cutter-off  of 
Nature's  wit. 

Cel.  Peradventure  this  is  not  Fortune's  work  neither, 
but  Nature's  ;  who  perceiveth  our  natural  wits  too  dull 
to  reason  of  such  goddesses,°  and  hath  sent  this 
natural  for  our  whetstone ;  for  always  the  dulness  of 
the  fool  is  the  whetstone  of  the  wits.  How  now,  wit ! 
whither  wander  you  ? 

Touch.  Mistress,  you  must  come  away°  to  your  6c 
father. 


Act  I.  Sc.  ii.]  AS  YOU  LIKE  IT  Ij 

Cel.   Were  you  made  the  messenger  ? 

Touch.  No,  by  mine  honor,°  but  I  was  bid  to  come 
for  you. 

Bos,   Where  learned  you  that  oath,  fool  ? 

Touch.  Of  a  certain  knight  that  swore  by  his  honoi 
they  were  good  pancakes,  and  swore  by  his  honor  the 
mustard  was  naught ;  now  I'll  stand  to  it,  the  pancakes 
were  naught  and  the  mustard  was  good,  and  yet  was 
not  the  knight  forsworn.  70 

Cel.  How  prove  you  that,  in  the  great  heap  of  your 
knowledge  ? 

Mos.    Ay,  marry,  now  unmuzzle  your  wisdom. 

Touch.  Stand  you  both  forth  now:  stroke  your 
chins,  and  swear  by  your  beards  that  I  am  a 
knave. 

Cel.     By  our  beards,  if  we  had  them,  thou  art. 

Touch.  By  my  knavery,  if  I  had  it,  then  I  were  ;  80 
but  if  you  swear  by  that  that  is  not,  you  are  no* 
forsworn :  no  more  was  this  knight,  swearing  by  his 
honor,  for  he  never  had  any;  or  if  he  had,  he  had 
sworn  it  away  before  ever  he  saw  those  pancakes  or 
that  mustard. 

Cel.   Prithee,  who  is't  that  thou  meanest  ? 

Touch.    One  that  old  Frederiek,°  your  father,  love& 

Cel.   My   father's   love   is   enough   to   honor  him; 


12  AS  YOU  LIKE  IT  [Act  I.  Sc.  il 

enough !  speak  no  more  of  him ;  you'll  be  whipped    90 
for  taxation  one  of  these  days. 

Touch.  The  more  pity,  that  fools  may  not  speak 
wisely  when  wise  men  do  foolishly. 

Cel.  By  my  troth,  thou  sayest  true ;  for  since  the 
little  wit  that  fools  have  was  silenced,  the  little  foolery 
that  wise  men  have  makes  a  great  show.  Here  comes 
Monsieur  Le  Beau. 

Eos.   With  his  mouth  full  of  news. 

Cel.  Which  he  will  put  on  us,  as  pigeons  feed  their 
young.  100 

Mos.   Then  shall  we  be  news-crammed. 

Cel.  All  the  better ;  we  shall  be  the  more  market- 
able.° 

Enter  Le  Beau 

Bon  jour,  Monsieur  Le  Beau;  what's  the  news? 

Le  Beau.  Fair  princess,  you  have  lost  much  good 
sport. 

Cel.   Sport !  of  what  color  ? 

Le  Beau.  What  color,  madam  !  how  shall  I  answer 
you? 

Hos.   As  wit  and  fortune  will.  no 

Touch.   Or  as  the  Destinies  decrees.^ 

Cel.   Well  said :°  that  was  laid  on  with  a  trowel. 

Touch,  Nay,  if  I  keep  not  my  rank,  —° 


ActI.  Sc.  ii.]  AS   YOU  LIKE  IT  13 

Ros.   Thou  losest  thy  old  smell. 

Le  Beau.  You  amaze  me,  ladies  :  I  would  have  told 
you  of  good  wrestling,  which  you  have  lost  the 
sight  of. 

Ros.   Yet  tell  us  the  manner  of  the  wrestling. 

Le  Beau.  I  will  tell  you  the  beginning ;  and,  if  it 
please  your  ladyships,  you  may  see  the  end ;  for  120 
the  best  is  yet  to  do ;  and  here,  where  you  are,  they 
are  coming  to  perform  it. 

Cel.   Well,  the  beginning,  that  is  dead  and  buried. 

Le  Beau.  There  comes°  an  old  man  and  his  three 
sons,  — 

Cel.   I  could  match  this  beginning  with  an  old  tale. 

Le  Beau.  Three  proper  young  men,  of  excellent 
growth  and  presence.  13° 

Ros.  With  bills  on  their  necks,°  "  Be  it  known  unto 
all  men  by  these  presents." 

Le  Beau.  The  eldest  of  the  three  wrestled  with 
Charles,  the  Duke's  wrestler;  which  Charles  in  a 
moment  threw  him,  and  broke  three  of  his  ribs,  that 
there  is  little  hope  of  life  in  him :  so  he  served  the 
second,  and  so  the  third.  Yonder  they  lie;  the 
poor  old  man,  their  father,  making  such  pitiful  dole 
over  them  that  all  the  beholders  take  his  part  with 
weeping.  ^ 


14  AS  YOU  LIKE  IT  [Act  I.  Sc.  ii. 

Bos.   Alas  !° 

Touch.  But  what  is  the  sport,  monsieur,  that  the 
ladies  have  lost  ? 

Le  Beau.   Why,  this  that  I  speak  of. 

Touch.  Thus  men  may  grow  wiser  every  day :  it  is 
the  first  time  that  ever  I  heard  breaking  of  ribs  was 
sport  for  ladies. 

Cel.   Or  I,  I  promise  thee. 

Bos.  But  is  there  any  else°  longs  to  see  this  broken 
music°  in  his  sides?  is  there  yet  another  dotes  150 
upon  rib-breaking?  Shall  we  see  this  wrestling, 
cousin  ? 

Le  Beau.  You  must,  if  you  stay  here ;  for  here  is 
the  place  appointed  for  the  wrestling,  and  they  are 
ready  to  perform  it. 

Cel  Yonder,  sure,  they  are  coming:  let  us  now 
stay  and  see  it. 

Flourish.     Enter  Duke  Frederick,  Lords,  Orlando, 
Charles,  and  Attendants 

Duke  F.  Come  on:  since  the  youth  will  not  be 
entreated,  his  own  peril  on  his  forwardness. 

Bos.    Is  yonder  the  man  ?  160 

Le  Beau.   Even  he,  madam. 

Cel.   Alas,  he  is  too  young !  yet  he  looks  successfully.'' 


Act  I.  Sc.  ii.]  AS   YOU  LIKE  IT  15 

Duke  F.  How  now,  daughter  and  cousin !  are  you 
crept  hither  to  see  the  wrestling  ? 

Ros.    Ay,  my  liege,  so  please  you  give  us  leave. 

Duke  F.  You  will  take  little  delight  in  it,  I  can  tell 
you,  there  is  such  odds  in  the  nian°  In  pity  of  the 
challenger's  youth  I  would  fain  dissuade  him,  170 
but  he  will  not  be  entreated.  Speak  to  him,  ladies ; 
see  if  you  can  move  him. 

Cel.    Call  him  hither,  good  Monsieur  Le  Beau. 

Duke  F.   Do  so :  I'll  not  be  by. 

Le  Beau.  Monsieur  the  challenger,  the  princess 
calls  for  you. 

Orl.   I  attend  them°  with  all  respect  and  duty. 

Ros.  Young  man,  have  you  challenged  Charles  the 
wrestler  ? 

Orl  No,  fair  princess ;  he  is  the  general  chal-  180 
lenger :°  I  come  but  in,  as  others  do,  to  try  with  him 
the  strength  of  my  youth. 

Cel.  Young  gentleman,  your  spirits  are  too  bold  for 
your  years.  You  have  seen  cruel  proof  of  this  man's 
strength :  if  you  saw  yourself  with  our  eyes,  or  knew 
yourself  with  our  judgment,  the  fear  of  your  adven- 
ture would  counsel  you  to  a  more  equal  enterprise. 
We  pray  you,  for  your  own  sake,  to  embrace  your  own 
safety,  and  give  over  this  attempt.  190 


16  AS  YOU  LIKE  IT  [Act  I.  Sc.  il 

Bos.  Do,  young  sir;  your  reputation  shall  not 
therefore  be  misprised:  we  will  make  it  our  suit  to 
the  Duke  that  the  wrestling  might  not  go  forward. 

0)i.  I  beseech  you,  punish  me  not  with  your  hard 
thoughts ;  wherein  I  confess  me  much  guilty,  to  deny 
so  fair  and  excellent°  ladies  anything.  But  let  your 
fair  eyes  and  gentle  wishes  go  with  me  to  my  trial : 
wherein  if  I  be  foiled,  there  is  but  one  shamed  that 
was  never  gracious ;  if  killed,  but  one  dead  that  200 
is  willing  to  be  so :  I  shall  do  my  friends  no  wrong, 
for  I  have  none  to  lament  me ;  the  world  no  injury, 
for  in  it  I  have  nothing :  only  in  the  world  I  fill  up  a 
place,  which  may  be  better  supplied  when  I  have  made 
it  empty. 

Eos.  The  little  strength  that  I  have,  I  would  it 
were  with  you. 

Cel.    And  mine,  to  eke  out  hers. 

Hos.   Fare  you  well :  pray  heaven  I  be  deceived  in 

yo^  J  210 

Cel.  Your  heart's  desires  be  with  you  ! 

Cha.  Come,  where  is  this  young  gallant  that  is  so 
desirous  to  lie  with  his  mother  earth  ? 

Orl  Eeady,  sir ;  but  his  will  hath  in  it  a  more 
modest  working. 

Duke  F.   You  shall  try  but  one  fall. 


Act  I.  Sc.  ii.]  ^-S   YOU  LIKE  IT  17 

Cha.  No,  I  warrant  your  Grace,  you  shall  not  entreat 
him  to  a  second,  that  have  so  mightily  persuaded  him 
from  a  first. 

Orl.  You  mean  to  mock  me  after ;  you  should  220 
not  have  mocked  me  before  :  but  come  your  ways. 

Bos.  Now  Hercules°  be  thy  speed,  young  man ! 

Cel.  I  would  I  were  invisible,  to  catch  the  strong 
fellow  by  the  leg.  [,TJiey  wrestle. 

Mos.   0  excellent  young  man  1° 

Cel.  If  I  had  a  thunderbolt  in  mine  eye,  I  can  tell 
who  should  down.  IShout.     Charles  is  thrown. 

Duke  F.   No  more,  no  more. 

Orl  Yes,  I  beseech  your  Grace :  I  am  not  yet  well 
breathed.  23° 

Duke  F.   How  dost  thou,  Charles  ? 

Le  Beau.   He  cannot  speak,  ray  lord. 

Duke  F.  Bear  him  away.  What  is  thy  name,  young 
man  ? 

Orl.  Orlando,  my  liege;  the  youngest  son  of  Sir 
Eowland  de  Boys. 

Duke  F.   I  would  thou  hadst  been  son  to  some  man 
else: 
The  world  esteemed  thy  father  honorable, 
But  I  did  find  him  still  mine  enemy : 
Thou  shouldst  have  better  pleased  me  with  this  deed^ 


Ig  AS  YOU  LIKE  IT  [Act  I.  Sc.  ii. 

Hadst  thou  descended  from  another  house.  241 

But  fare  thee  well ;°  thou  art  a  gallant  youth  : 
[  would  thou  hadst  told  me  of  another  father. 

[Exeunt  Duke  Fred.,  train^  and  Le  Beau. 

Cel.   Were  I  my  father,  coz,  would  I  do  this  ? 

Orl.   I  am  more  proud  to  be  Sir  Rowland's  son, 
His  youngest  son ;  and  would  not  change  that  calling, 
To  be  adopted  heir  to  Frederick. 

Ros.  My  father  loved  Sir  Rowland  as  his  soul, 
And  all  the  world  was  of  my  father's  mind : 
Had  I  before  known°  this  young  man  his  son, 
T  should  have  given  him  tears  unto  entreaties,  250 

Ere  he  should  thus  have  ventured. 

Cel.  Gentle  cousin 

Let  us  go  thank  him  and  encourage  him  ; 
My  father's  rough  and  envious  disposition 
Sticks  me  at  heart.     Sir,  you  have  well  deserved: 
If  you  do  keep  your  promises  in  love 
But  justly,  as  you  have  exceeded  all  promise, 
Tour  mistress  shall  be  happy. 

Bos.  Gentleman, 

[Giving  him  a  chain  from  her  neck. 
Wear  this  for  me,  one  out  of  suits  with  fortune, 
That  could  give  more,°  but  that  her  hand  lacks  means. 
Shall  we  go,  coz  ? 


Act  i.  Sc.  ii.]  AS  YOU  LIKE  IT  19 

Cel.  Ay.     Fare  you  well,  fair  gentleman.     260 

Orl.    Can  I  not  say,  I  thank  you  ?     My  better  parts 
Are  all  thrown  down,  and  that  which  here  stands  up 
Is  but  a  quintain,  a  mere  lifeless  block. 

Bos.   He  calls  us  back :  my  pride  fell  with  my  for- 
tunes ; 
I'll  ask  him  what  he  would.     Did  you  call,  sir  ? 
Sir,  you  have  wrestled  well  and  overthrown 
More  than  your  enemies. 

Cel.  Will  you  go,  coz  ? 

Bos.   Have  with  you.°    Fare  you  well. 

[Exeunt  Eosalind  and  Celia. 

Orl.   What  passion  hangs  these  weights  upon  my 
tongue  ? 
I  cannot  speak  to  her,  yet  she  urged  conference.       270 
0  poor  Orlando,  thou  art  overthrown  ! 
Or  Charles  or  something  weaker  masters  thee. 

Re-enter  Le  Beau 
Le  Beau.    Good  sir,  I  do  in  friendship  counsel  you 
To  leave  this  place.     Albeit  you  have  deserved 
High  commendation,  true  applause,  and  love, 
Yet  such  is  now  the  Duke's  condition, 
That  he  misconstrues"  all  that  you  have  done. 
The  Duke  is  humorous :  what  he  is,  indeed, 


20  ,  AS  YOU  LIKE  IT  [Act  I.  Sc.  ii. 

More  suits  you  to  conceive  than  1°  to  speak  of. 

Orl    I  thank  you,  sir  :  and,  pray  you,  tell  me  this  ; 
Which  of  the  two  was  daughter  of  the  Duke,  281 

That  here  was  at  the  wrestling  ? 

Le  Beau.   Neither   his   daughter,  if  we    judge  by 
manners ; 
But  yet,  indeed,  the  taller°  is  his  daughter : 
The  other  is  daughter  to  the  banished  Duke, 
And  here  detained  by  her  usurping  uncle, 
To  keep  his  daughter  company ;  whose  loves 
Are  dearer  than  the  natural  bond  of  sisters. 
But  I  can  tell  you  that  of  late  this  Duke 
Hath  ta'en  displeasure  'gainst  his  gentle"  niece,         290 
Grounded  upon  no  other  argument 
But  that  the  people  praise  her  for  her  virtues, 
And  pity  her  for  her  good  father's  sake  ; 
And,  on  my  life,  his  malice  'gainst  the  lady 
Will  suddenly  break  forth.     Sir,  fare  you  well : 
Hereafter,  in  a  better  world°  than  this, 
I  shall  desire  more  love  and  knowledge  of  you. 

Orl  I  rest  much  bounden  to  you :  fare  you  well. 

[Exit  Le  Beau. 
Thus  must  1°  from  the  smoke  into  the  smother ; 
From  tyrant  Duke  unto  a  tyrant  brother :  300 

But  heavenly  Eosalind !  [Exit. 


Act  I.  Sc.  iii.]  AS   YOU  LIKE  IT  21 

ScEXE  III.     A  room  in  the  palace 
Enter  Celia  and  Rosalixd 

Cel.  Why,  cousin!  why,  Rosalind!  Cupid  have 
mercy  !  not  a  word  ?° 

Ros.  Xot  one  to  throw  at  a  dog. 

Cel.  No,  thy  words  are  too  precious  to  be  cast  away 
upon  curs  ;  throw  some  of  them  at  me ;  come,  lame 
me  with  reasons. 

Ros.  Then  there  were°  two  cousins  laid  up ;  when 
the  one  should  be  lamed  with  reasons  and  the  other 
mad  without  any. 

Cel.  But  is  all  this  for  your  father  ?  lo 

Ros.  No,  some  of  it  is  for  my  father's  child.  0, 
how  full  of  briers  is  this  working-day  world ! 

Cel.  They  are  but  burs,  cousin,  thrown  upon  thee  in 
holiday  foolery :  if  we  walk  not  in  the  trodden  paths, 
our  very  petticoats  will  catch  them. 

Ros.  I  could  shake  them  off  my  coat:  these  burs 
are  in  my  heart. 

Cel.  Hem  them  away. 

Ros.  I  would  try,  if  I  could  cry  hem  and  have 
him.° 

Cel.  Come,  come,  wrestle  with  thy  affections. 


22  AS  YOU  LIKE  IT  [Act  I.  Sc.  iiL 

iios.  0,  they  take  the  part  of  a  better  wrestler  than 
myself ! 

Cel  0,  a  good  wish  upon  you  !  you  will  try  in  time, 
in  despite  of°  a  fall.  But,  turning  these  jests°  out  of 
service,  let  us  talk  in  good  earnest ;  is  it  possible,  on 
such  a  sudden,  you  should  fall  into  so  strong  a  liking° 
with  old  Sir  Rowland's  youngest  son  ? 

Ros.  The  Duke  my  father  loved  his  father  dearly.   30 

Cel.  Doth  it  therefore  ensue  that  you  should  love 
his  son  dearly  ?  By  this  kind  of  chase,  I  should  hate 
him,  for  my  father  hated  his  father  dearly ;  yet  I  hate 
not  Orlando. 

Bos.  No,  faith,  hate  him  not,  for  my  sake. 

Cel  Why  should  I  not  ?  doth  he  not  deserve  well  ?° 

Ros.  Let  me  love  him  for  that,  and  do  you  love  him 
because  I  do.     Look,  here  comes  the  Duke.  40 

Cel.  With  his  eyes  full  of  anger. 

Enter  Duke  Frederick,  with  Lords 

Duke  F.  Mistress,  despatch  you  with  your  safest  haste 
And  get  you  from  our  court. 

^os.  Me,  uncle  ? 

^^'^e  F.  You,  cousin; 

Within  these  ten  days  if  that  thou  be'st  found 
So  near  our  public  court  as  twenty  miles, 
Thou  diest  for  it. 


Act  I.  Sc.  iii.]  AS   YOU  LIKE  IT  23 

Ros.  I  do  beseecli  your  Grace, 

Let  me  the  knowledge  of  my  fault  bear  with  me :° 
If  with  myself  I  hold  intelligence, 
Or  have  acquaintance  with  mine  own  desires ;  50 

If  that  I  do  not  dream,  or  be  not  frantic,  — ° 
As  I  do  trust  I  am  not,  — then,  dear  uncle, 
Never  so  much  as  in  a  thought  unborn 
Did  I  offend  your  Highness. 

Duke  F.  Thus  do  all  traitors  : 

If  their  purgation  did  consist  in  words. 
They  are  as  innocent  as  grace  itself : 
Let  it  suffice  thee  that  I  trust  thee  not. 

Bos.  Yet  your  mistrust  cannot  make  me  a  traitor : 
Tell  me  whereon  the  likelihood  depends. 

Duke  F.  Thou   art  thy  father's   daughter;   there's 
enough.  ^° 

Eos.  So  was  I  when  your  Highness  took  his  duke^ 

dom; 
So  was  I  when  your  Highness  banished  him : 
Treason  is  not  inherited,  my  lord ; 
Or,  if  we  did  derive  it  from  our  friends, 
What's  that  to  me  ?  my  father  was  no  traitor: 
Then,  good  my  liege,  mistake  me  not  so  much 
To  think  my  poverty  is  treacherous. 
Cel.  Dear  sovereign,  hear  me  speak. 


24  AS   YOU  LIKE  IT  [Act  I.  Sc.  iii. 

Duke  F.  Ay,  Celia ;  we  stayed  her  for  your  sake, 
Else  had  she  with  her  father  ranged  along.  70 

Cel.  I  did  not  then  entreat  to  have  her  stay ; 
It  was  your  pleasure  and  your  own  remorse  : 
I  was  too  young°  that  time  to  value  her. 
But  now  I  know  her :  if  she  be  a  traitor, 
Why  so  am  I ;  we  still  have  slept  together. 
Rose  at  an  instant,  learned,  played,  eat  together, 
And  wheresoe'er  we  went,  like  Juno's  swans,° 
Still  we  went  coupled  and  inseparable. 

Duke  F.    She  is  too  subtle  for  thee ;  and  her  smooth- 
ness. 
Her  very  silence  and  her  patience,  80 

Speak  to  the  people,  and  they  pity  her. 
Thou  art  a  fool :  she  robs  thee  of  thy  name ; 
And  thou  wilt  show  more  bright  and  seem  more  virtu 

ous 
When  she  is  gone.     Then  open  not  thy  lips : 
Firm  and  irrevocable  is  my  doom 
Which  I  have  passed  upon  her ;  she  is  banished. 

Cel.    Pronounce  that  sentence  then  on  me,  my  liege : 
I  cannot  live  out  of  her  company. 

Duke  F.   You  are  a  fool.°     You,  niece,  provide  your- 
self: 
If  you  outstay  the  time,  upon  mine  honor,  90 


Act  I.  Sc.  iii.]  AS  YOU  LIKE  IT  25 

And  in  the  greatness  of  my  word,°  you  die. 

\_Exeunt  Duke   Frederick  and  Lords. 

Cel.  0  my  poor  Kosalind,  whither  wilt  thou  go  ? 
Wilt  thou  change  fathers?  I  will  give  thee  mine. 
I  charge  thee,  be  not  'thou  more  grieved  than  I  am. 

Hos.    I  have  more  cause. 

Cel.  Thou  hast  not,  cousin ; 

Prithee,  be  cheerful :  know'st  thou  not,  the  Duke 
Hath  banished  me,  his  daughter  ? 

Eos.  That  he  hath  not. 

Cel.     No,  hath  not  ?     Eosalind  lacks  then  the  love 
Which  teacheth  thee  that  thou  and  I  am'"  one : 
Shall  we  be  sundered  ?  shall  we  part,  sweet  girl  ?        loo 
No :  let  my  father  seek  another  heir. 
Therefore  devise  with  me  how  we  may  fly, 
Whither  to  go  and  what  to  bear  with  us ; 
And  do  not  seek  to  take  your  change  upon  you, 
To  bear  your  griefs  yourself  and  leave  me  out ; 
For,  by  this  heaven,  now  at  our  sorrows  pale,° 
Say  what  thou  canst,  I'll  go  along  with  thee. 

Hos.   Why  whither  shall  we  go  ? 

Cel   To  seek  my  uncle  in  the  forest  of  Arden." 

Eos.    Alas,  what  danger  will  it  be  to  us,  no 

Maids  as  we  are,  to  travel  forth  so  far ! 
Beauty  provoketh  thieves  sooner  than  gold. 


26  ^S   YOU  LIKE  IT  [Act  I.  Sc.  iil 

Cel.    I'll  put  myself  in  poor  and  mean  attire 
And  wiih  a  kind  of  umber  smirch  my  face ; 
The  like  do  you :  so  shall  we  pass  along 
And  never  stir  assailants. 

Ros.  Were  it  not  better, 

Because  that  I  am  more  than  common  tall, 
That  I  did  suit  me  all  points  like  a  man  ? 
A  gallant  curtle-axe  upon  my  thigh, 
A  boar-spaar  in  my  hand  ;  and  —  in  my  heart  120 

Lie  there  what  hidden  woman's  fear  there  will  — 
We'll  have  a  swashing  and  a  martial  outside, 
As  many  other  mannish  cowards  have 
That  do  outface  it  with  their  semblances. 

Cel.   What  shall  I  call  thee  when  thou  art  a  man  ? 

Ros.  I'll  have  no  worse  a  name  than  Jove's  own  page; 
And  therefore  look  you  call  me  Ganymede. 
But  what  will  you  be  called  ? 

Cel.    Something  that  hath  a  reference  to  my  state : 
No  longer  Celia,  but  Aliena.°  130 

Ros.   But,  cousin,  what  if  we  assayed  to  steal 
The  clownish  fool  out  of  your  father's  court  ? 
Would  he  not  be  a  comfort  to  our  travel  ? 

Gel.    He'll  go  along  o'er  the  Tvade  world  with  me; 
Leave  me  alone  to  woo  him.     Let's  away, 
And  get  our  jewels  and  our  wealth  together; 


Act  II.  Sc.  i.]  AS  YOU  LIKE  IT 


27 


Devise  the  fittest  time  and  safest  way 

To  hide  us  from  pursuit  that  will  be  made 

After  my  flight.     Now  go  we  in  content 

To  liberty^  and  not  to  banishment.  \_Exeunt.     140 


ACT  II 

Scene  I.     The  Forest  of  Arden 

Enter  Duke  senior^  Amiens,  and  two  or  three  Lords^ 
like  foresters 

Duke  S.   Now,  my  co-mates  and  brothers  in  exile, 
Hath  not  old  custom  made  this  life  more  sweet 
Than  that  of  painted  pomp  ?     Ai-e  not  these  woods 
More  free  from  peril  than  the  envious  court  ? 
Here  feel  we  but  the  penalty  of  Adam,° 
The  seasons'  difference ;  as  the  icy  fang° 
And  churlish  chiding  of  the  winter's  wind, 
Which,  when  it  bites  and  blows  upon  my  body, 
Even  till  I  shrink  with  cold,  I  smile  and  say 
*  This  is  no  flattery :  these  are  counsellors"  10 

That  feelingly  ^persuade  me  what  I  am.' 
Sweet  are  the  uses  of  adversity ; 
Which,  like  the  toad,  ugly  and  venomous, 


28  AS   YOU  LIKE  IT  [Act  II.  Sc.  i. 

Wears  yet  a  precious  jewel°  in  his  head : 

And  this  our  life  exempt  from  public  haunt 

Finds  tongues  in  trees,  books  in  the  running  brooks, 

Sermons  in  stones  and  good  in  everything. 

I  would  not  change  it. 

Ami.  Happy  is  your  Grace, 

That  can  translate  the  stubbornness  of  fortune 
Into  so  quiet  and  so  sweet  a  style.  20 

Duke  S.   Come,  shall  we  go  and  kill  us  venison  ? 
And  yet  it  irks  me°  the  poor  dappled  fools, 
Being  native  burghers  of  this  desert  city, 
Should  in  their  own  confines  with  forked  heads 
Have  their  round  haunches  gored. 

First  Lord.  Indeed,  my  lord, 

The  melancholy  Jaques  grieves  at  that. 
And,  in  that  kind,  swears  you  do  more  usurp 
Than  doth  your  brother  that  hath  banished  you. 
To-day  my  Lord  of  Amiens  and  myself 
Did  steal  behind  him  as  he  lay  along  30 

Under  an  oak  whose  antique   root  peeps  out 
Upon  the  brook  that  brawls°  along  this  wood  : 
To  the  which  place  a  poor  sequestered  stag, 
That  from  the  hunter's  aim  had  ta'en  a  hurt, 
Did  come  to  languish,  and  indeed,  my  lord. 
The  wretched  animal  heaved  forth  such  groans, 


Act  II.  Sc.  i.]  AS  YOU  LIKE  IT  29 

That  their  discharge  did  stretch  his  leathern  coat 

Almost  to  bursting,  and  the  big  round  tears° 

Coursed  one  another  down  his  innocent  nose 

In  piteous  chase  ;  and  thus  the  hairy  fool,  40 

Much  marked  of  the  melancholy  Jaques,° 

Stood  on  the  extremest  verge  of  the  swift  brook, 

Augmenting  it  with  tears. 

Duke  S.  But  what  said  Jaques  ? 

Did  he  not  moralize  this  spectacle  ? 

First  Lord.    0,  yes,  into  a  thousand  similes.** 
First,  for  his  weeping  into  the  needless  stream ; 
*  Poor  deer,'  quoth  he,  '  thou  makest  a  testament 
As  worldings  do,  giving  thy  sum  of  more 
To   that   which   had   too   much:'   then,   being  there 

alone. 
Left  and  abandoned  of  his  velvet  friends ;  50 

^  'Tis  right,'  quoth  he ;  '  thus  misery  doth  part 
The  flux  of  company  : '  anon  a  careless  herd, 
Full  of  the  pasture,"  jumps  along  by  him 
And  never  stays  to  greet  him  ;  ^  Ay,'  quoth  Jaques, 
'  Sweep  on,  you  fat  and  greasy  citizens ; 
'Tis  just  the  fashion :  wherefore  do  you  look 
Upon  that  poor  and  broken  bankrupt  there  ? ' 
Thus  most  invectively  he  pierceth  through 
The  body  of  the  country,  city,  court, 


30  AS  YOU  LIKE  IT  [Act  H.  Sc.  ii. 

Yea,  and  of  this  our  life ;  swearing  tliat  we  60 

Are  mere  usurpers,  tyrants  and  what's  worse, 
To  fright  the  animals  and  to  kill  them  up° 
In  their  assigned  and  native  dwelling-place.° 

Duke  S.   And   did  you  leave  him   in  this  contem- 
plation? 

Sec.   Lord.   We   did,  my   lord,   weeping  and  com- 
menting 
Upon  the  sobbing  deer. 

Duke  S.  Show  me  the  place : 

I  love  to  cope  him  in  these  sullen  fits. 
For  then  he's  full  of  matter. 

Fi7'st  Lord.   I'll  bring  you  to  him  straight.     [^Exeunt 


Scene  II.     A  room  in  the  palace 
Enter  Duke  Frederick,  witJi  Lords 

Duke  F.   Can  it  be  possible  that  no  man  saw  them  ?° 
It  cannot  be :  some  villains  of  my  court 
Are  of  consent  and  sufferance  in  this. 

First  Lord.    I  cannot  hear  of  any  that  did  see  her. 
The  ladies,  her  attendants  of  her  chamber. 
Saw  her  a-bed,  and  in  the  morning°  early 
They  found  the  bed  untreasured  of  their  mistress. 


Act  II.  Sc.  iii.]  AS   YOU  LIKE  IT  31 

Sec.  Lord.    My  lord,  the  roynish  clown,°  at  whom 
so  oft 
Your  Grace  was  wont  to  laugh,  is  also  missing. 
Hesperia,  the  princess'°  gentlewoman,  #  lo 

Confesses  that  she  secretly  o'erheard 
Your  daughter  and  her  cousin  much  commend 
The  parts  and  graces  of  the  wrestler 
That  did  but  lately  foil  the  sinewy  Charles ; 
And  she  believes,  wherever  they  are  gone. 
That  youth  is  surely  in  their  company. 

Duke  F.    Send  to  his  brother;   fetch  that  gallant"' 
hither ; 
If  he  be  absent,  bring  his  brother  to  me ; 
I'll  make  him  find  him :  do  this  suddenly," 
And  let  not  search  and  inquisition  quail  20 

To  bring  again  these  foolish  runaways."  [Exeunt. 

Scene  III.     Before  Oliver's  house 
Enter  Orlando  and  Adam,  meeting 

Orl   Who's  there  ? 

Adam.   What,   my  young  master?     0  my   gentle 
master ! 
0  my  sweet  master  !     0  you  memory 
Of  old  Sir  Eowland!  why,  what  make  you°  here  ? 


32  AS   YOU  LIKE  IT  [Act  II.  Sc.  iii. 

Why  are  you  virtuous  ?  why  do  people  love  you  ?° 

And  wherefore  are  you  gentle,   strong  and  valiant  ? 

Why  would  you  be  so  fond°  to  overcome 

The  bonny  priser  of  the  humorous  Duke  ? 

Your°  praise  is  come  too  swiftly  home  before  you. 

Know  you  not,  master,  to  some  kind  of  men  lo 

Their  graces  serve  them  but  as  enemies  ? 

No  more  do  yours :°  your  virtues,  gentle  master, 

Are  sanctified  and  holy  traitors  to  you. 

0,  tvhat  a  world  is  this,  when  what  is  comely 

Envenoms  him  that  bears  it ! 

Orl   Why,  what's  the  matter  ? 

Adam.  0  unhappy  youth ! 

Come  not  within  these  doors  ;  within  this  roof 
The  enemy  of  all  your  graces  lives : 
Your  brother  —  no,  no  brother ;  yet  the  son  — 
Yet  not  the  son,  I  will  not  call  him  son, 
Of  him  I  was  about  to  call  his  father,  — 
Hath  heard  your  praises,  and  this  night  he  means 
To  burn  the  lodging°  where  you  use  to  lie 
And  you  within  it :  if  he  fail  of  that. 
He  will  have  other  means  to  cut  you  off. 
I  overheard  him  and  his  practices. 
This  is  no  place  ;  this  house  is  but  a  butchery : 
Abhor  it,  fear  it,  do  not  enter  it. 


Act  II.  Sc.  iii.]  AS  YOU  LIKE  IT  33 

Orl   Why,  whither,  Adam,  wouldst  thou  have  me 
go? 

Adam.   Xo  matter  whither,  so  you  come  not  here.  30 

Orl    What,  wouldst  you  have  me  go  and  beg  my 
food? 
Or  with  a  base  and  boisterous  sword  enforce 
A  thievish  living  on  the  common  road  ? 
This  I  must  do,  or  know  not  what  to  do : 
Yet  this  I  will  not  do,  do  how  I  can ; 
I  rather  will  subject  me  to  the  malice 
Of  a  diverted  blood°  and  bloody  brother. 

Adam.    But  do  not  so.     I  have  five  hundred  crowns, 
The  thrifty  hire  I  saved  under  your  father, 
Which  I  did  store  to  be  my  foster-nurse  40 

"\Mien  service  should  in  my  old  limbs  lie  lame, 
And  unregarded  age  in  corners  thrown  : 
Take  that,  and  He  that  doth  the  ravens  feed, 
Yea,  providently  caters  for  the  sparrow, 
Be  comfort  to  my  age  !     Here  is  the  gold ; 
All  this  I  give  you.     Let  me  be  your  servant: 
Though  I  look  old,  yet  I  am  strong  and  lusty; 
For  in  my  youth  I  never  did  apply 
Hot  and  rebellious  liquors  in  my  blood, 
Nor  did  not  with  unbashful  forehead  woo  50 

The  means  of  weakness  and  debility ; 


34  ^S   YOU  LIKE  IT  [Act  II.  Sc.  iii. 

Therefore  my  age  is  as  a  lusty  winter, 
Frosty,  but  kindly :  let  me  go  with  you : 
I'll  do  the  service  of  a  younger  man 
In  all  your  business  and  necessities. 

Oii.    0  good  old  man,  how  well  in  thee  appears 
The  constant  service  of  the  antique°  world. 
When  service  sweat  for  duty,  not  for  meed ! 
Thou  art  not  for  the  fashion  of  these  times, 
Where  none  will  sweat  but  for  promotion,  60 

And  having  that  do  choke  their  service  up 
Even  with  the  having:  it  is  not  so  with  thee. 
But,  poor  old  man,  thou  prunest  a  rotten  tree, 
That  cannot  so  much  as  a  blossom  yield 
In  lieu  of  °  all  thy  pains  and  husbandry. 
But  come  thy  ways ;  we'll  go  along  together, 
And  ere  we  have  thy  youthful  wages°  spent, 
W^e'll  light  upon  some  settled  low  content. 

Adam.    Master,  go  on,  and  I  will  follow  thee, 
To  the  last  gasp,  with  truth  and  loyalty.  70 

From  seventeen  years  till  now  almost  fourscore 
Here  lived  I,  but  now  live  here  no  more. 
At  seventeen  years  many  their  fortunes  seek ; 
But  at  fourscore  it  is  too  late  a  week :° 
Yet  fortune  cannot  recompense  me  better 
Than  to  die  well  and  not  my  master's  debtor.  [Exeunt 


Act  II.  Sc.  iv.]  AS   YOU  LIKE  IT  35 

Scene  IV.    TJie  Forest  of  Arden 

Enter  Eosalixd  for  Gaxymede,  Celia  for  Aliena, 
and  ToucHSTOXE 

Bos.    0  Jupiter,  how  weary  are  my  spirits ! 

Touch.  I  care  not  for  my  spirits,  if  my  legs  were 
not  weary.° 

Bos.  I  could  find  in  my  heart  to  disgrace  my  man's 
apparel  and  to  cry  like  a  woman ;  but  I  must  comfort 
the  weaker  vessel,  as  doublet  and  hose  ought  to  show 
itself  courageous  to  petticoat :  therefore,  courage,  good 
Aliena. 

Cel  I  pray  you,  bear  with  me;  I  cannot  go  no 
further.  lo 

Touch.  For  ray  part,  I  had  rather  bear  with  you 
than  bear  you ;  yet  I  should  bear  no  cross,°  if  I  did 
bear  you;  for  I  think  you  have  no  money  in  your 
purse. 

Bos.   Well,  this  is  the  forest  of  Arden. 

Touch.  Ay,  now  am  I  in  Arden  f  the  more  fool  I ; 
when  I  was  at  home,  I  was  in  a  better  place:  but 
travellers  must  be  content. 

Bos.   Ay,  be  so,°  good  Touchstone. 


36  ^S  YOU  LIKE  IT  [Act  II.  Sc.  iv. 

Enter  Corin  and  Silvius 

Look  you,  who  comes  here ;°  a  young  man  and  an  20 
old  in  solemn  talk. 

Cor.   Tiiat  is  the  way  to  make  her  scorn  you  still. 

Sil.   O   Cor  in,  that  thou   knew'st  how  I   do   love 
her! 

Cor.   I  partly  guess ;  for  I  have  loved  ere  now. 

Sil.   No,  Corin,  being  old,  thou  canst  not  guess, 
Though  in  thy  youth  thou  wast  as  true  a  lover 
As  ever  sighed  upon  a  midnight  pillow : 
But  if  thy  love  were  ever  like  to  mine,  — 
As  sure°  I  think  did  never  man  love  so,  — 
How  many  actions  most  ridiculous  30 

Hast  thou  been  drawn  to  by  thy  fantasy  ? 

Cor.   Into  a  thousand  that  I  have  forgotten. 

Sil.   0,  thou  didst  then  ne'er  love  so  heartily ! 
If  thou  remember'st  not  the  slightest  folly 
That  ever  love  did  make  thee  run  into. 
Thou  hast  not  loved : 
Or  if  thou  hast  not  sat  as  I  do  now. 
Wearying  thy  hearer°  in  thy  mistress'  praise, 
Thou  hast  not  loved : 

Or  if  thou  hast  not  broke  from  company  40 

Abruptly,  as  my  passion  now  makes  me, 


Act  II.  Sc.  iv.]  AS  YOU  LIKE  IT  37 

Thou  hast  not  loved. 

0  Phebe,  Phebe,  Phebe !  [Exit. 
Ros.    Alas,  poor  shepherd  !  searching  of  thy  wound, 

1  have  by  hard  adventure  found  mine  own. 

Touch.  And  I  mine.  I  remember,  when  I  was  in 
love  I  broke  my  sword  upon  a  stone  and  bid  him°  take 
that  for  coming  a-night  to  Jane  Smile :  and  I  remem- 
ber the  kissing  of  her  batlet  and  the  cow's  dugs  that 
her  pretty  chopt  hands  had  milked:  and  I  re-  50 
member  the  wooing  of  a  peascod  instead  of  her ;  from 
whom  I  took  two  cods  and,  giving  her  them  again, 
said  with  weeping  tears  'Wear  these  for  my  sake.' 
We  that  are  true  lovers  run  into  strange  capers ;  but 
as  all  is  mortal  in  nature,  so  is  all  nature  in  love  mor- 
tal in  folly. 

Ros.    Thou  speakest  wiser  than  thou  art  ware  of. 

Touch.  Nay,  I  shall  ne'er  be  ware  of  mine  own  wit 
till  I  break  my  shins  against  it.  60 

Ros.   Jove,  Jove  !  this  shepherd's  passion 
Is  much  upon  my  fashion. 

Touch.  And  mine;  but  it  grows  something  stale 
with  me. 

Cel    I  pray  you,  one  of  you  question  yond  man 
If  he  for  gold  will  give  us  any  food : 
I  faint  almost  to  death. 


38  AS   YOU  LIKE  IT  [Act  II.  So.  iv. 

Touch.  Holla,  you  clown  ! 

Ros.   Peace,  fool ;  he's  not  thy  kinsman. 

Cor.  '  Who  calls  i 

Touch.   Your  betters,  sir. 

Cor.  Else  are  they  very  wretched. 

Ros.   Peace,°  I  say.     G-ood  even  to  you,  friend. 

Cor.   And  to  you,  gentle°  sir,  and  to  you  all.  70 

Ros.    I  prithee,  shepherd,  if  that  love  or  gold 
Can  in  this  desert  place  buy  entertainment, 
Bring  us  where  we  may  rest  ourselves  and  feed : 
Here's  a  young  maid  with  travel  much  oppressed 
And  faints  for  succor. 

Cor.  Fair  sir,  I  pity  her 

And  wish,  for  her  sake  more  than  for  mine  own, 
My  fortunes  were  more  able  to  relieve  her; 
But  I  am  shepherd  to  another  man 
And  do  not  shear  the  fleeces  that  I  graze :  ° 
My  master  is  of  churlish  disposition  8a 

And  little  recks  to  find  the  way  to  heaven° 
By  doing  deeds  of  hospitality  : 
Besides,  his  cote,  his  flocks,  and  bounds  of  feed 
Are  now  on  sale,  and  at  our  sheepcote  now, 
By  reason  of  his  absence,  there  is  nothing 
That  you  will  feed  on ;  but  what  is,  come  see, 
And  in  my  voice  most  welcome  shall  you  be. 


Act  II.  Sc.  v.]  AS  YOU  LIKE  IT  39 

Ros.    What°  is  he  that  shall  buy  his  flock  and  pas- 
ture? 

Cor.   That  young  swain  that  you  saw  here  but  ere- 
while, 
That  little  cares  for  buying  anything.  90 

Ros.    I  pray  thee,  if  it  stand  with  honesty,"* 
Buy  thou  the  cottage,  pasture,  and  the  flock, 
And  thou  shalt  have  to  pay  for  it  of  us. 

Cel.   And  we  will  mend  thy  wages.    I  like  this  place, 
And  willingly  could  waste  my  time  in  it. 

Cor.    Assuredly  the  thing  is  to  be  sold : 
Go  with  me :  if  you  like  upon  report 
The  soil,  the  profit,  and  this  kind  of  life, 
I  will  your  very  faithful  feeder  be  99 

And  buy  it  with  your  gold  right  suddenly.      \_Exeu'iit. 

Scene  V.     The  forest 
Enter  Amiens,  Jaques,  and  others 

Song 

Ami,  Under  the  greenwood  tree 

Who  loves  to  lie  with  me. 
And  turn  his  merry  note 
Unto  the  sweet  bird's  throat, 
Come  hither,  come  hither,  come  hither : 


40  AS   YOU  LIKE  IT  [Act  II.  Sc.  ▼. 

Here  shall  we  see 
No  enemy 
But  winter  and  rough,  weather. 

Jaq.   More,  more,  I  prithee,  more. 

Ami.  It  will  make  you  melancholy,"  Monsieur 
Jaques.  lo 

Jaq.  I  thank  it.  More,  I  prithee,  more.  I  can 
suck  melancholy  out  of  a  song,  as  a  weasel  sucks  eggs. 
More,  I  prithee,  more. 

Ami.  My  voice  is  ragged:  I  know  I  cannot  please  you. 

Jaq.  I  do  not  desire  you  to  please  me ;  I  do  desire 
you  to  sing.  Come,  more;  another  stanzo:  call  you 
'em  stanzos  ?° 

Ami.   What  you  will.  Monsieur  Jaques.  20 

Jaq.  Nay,  I  care  not  for  their  names ;  they  owe°  me 
nothing.     Will  you  sing  ? 

Ami.   More  at  your  request  than  to  please  myself. 

Jaq.  Well  then,  if  ever  I  thank  any  man,  I'll  thank 
you;  but  that  they  call°  compliment  is  like  the  en- 
counter of  two  dog-apes,  and  when  a  man  thanks  me 
heartily,  methinks  I  have  given  him  a  penny  and  he 
renders  me  the  beggarly  thanks.  Come,  sing ;  and 
you  that  will  not,  hold  your  tongues.  30 

Ami.   Well,  Pll   end  the   song.     Sirs,°  cover    the 


Act  II.  Sc.  v.]  AS   YOU  LIKE  IT  41 

while ;  the  Duke  will  drink  under  this  tree.    He  hath 
been  all  this  day  to  look  you.° 

Jaq.  And  I  have  been  all  this  day  to  avoid  him. 
He  is  too  disputable  for  my  company :  I  think  of  as 
many  matters  as  he;  but  I  give  heaven  thanks,  and 
make  no  boast  of  them.     Come,  warble,  come. 

SoxG 

Who  doth  ambition  shun,  \^AU  together  here.    40 
And  loves  to  live  i'  the  sun, 
Seeking  the  food  he  eats,° 
And  pleased  with  what  he  gets, 
Come  hither,  come  hither,  come  hither : 
Here  shall  he  see 
No  enemy 
But  winter  and  rough  weather. 

Jaq.  I'll  give  you  a  verse  to  this  note,°  that  I  made 
yesterday  in  despite  of°  my  invention. 

Ami.   And  Pll  sing  it.  S<» 

Jaq.    Thus  it  goes  :  — 

If  it  do  come  to  pass 
That  any  man  turn  ass, 
Leaving  his  wealth  and  ease 
A  stubborn  will  to  please, 


42  AS   YOU  LIKE  IT  [Act  II.  Sc.  vi. 

Ducdame,  ducdame,  ducdame : 

Here  shall  he  see 

Gross  fools  as  he, 
An  if  he  will  come  to  me. 

Ami.   What's  that  "  ducdame  "  ?°  60 

Jaq.   'Tis  a   Greek  invocation,  to  call  fools  into  a 

circle.     I'll  go  sleep,  if  I  can ;    if  I  cannot,  I'll   rail 

against  all  the  first-born  of  Egypt.° 

Ami.   And  I'll  go  seek  the  Duke :    his  banquet°  is 

prepared.  \_Exeunt  severally. 

Scene  VI.     Tlie  forest 
Enter  Orlando  and  Adam 

Adam.  Dear  master,  I  can  go  no  further ;  0,  I  die 
for  food!  Here  lie  I  down,  and  measure  out  my. 
grave.     Farewell,  kind  master. 

Oii.  Why,  how  now,  Adam !  no  greater  heart  in 
thee  ?  Live  a  little  ;  comfort  a  little ;  cheer  thyself  a 
little.  If  this  uncouth®  forest  yield  anything  savage, 
I  will  either  be  food  for  it  or  bring  it  for  food  to 
thee.  Thy  conceit  is  nearer  death  than  thy  powers. 
For  my  sake  be  comfortable ;  hold  death  awhile  at  the 
arm's  end  :  I  will  here  be  with  thee  presently ;  10 
and  if  I  bring  thee  not  something  to  eat,  I  will  give 


Act  II.  Sc.  vii.]  AS  YOU  LIKE  IT  43 

thee  leave  to  die :  but  if  thou  diest  before  I  come,  thou 
art  a  mocker  of  my  labor.  Well  said!  thou  lookest 
cheerly,  and  I'll  be  with  thee  quickly.  Yet  thou  liest 
in  the  bleak  air :  come,  I  will  bear  thee  to  some  shelter ; 
and  thou  shalt  not  die  for  lack  of  a  dinner,  if  there 
live  anything  in  this  desert.     Cheerly,°  good  Adam ! 

^Exeunt, 

Scene  VII.     Tlie  forest 

A  table  set  out.     Enter  Duke  senior,  Amiens  and  Lords 
like  outlaws 

Duke  S.  I  think  he°  be°  transformed  into  a  beast ; 
For  I  can  no  where°  find  him  like  a  man. 

First  Lord.  My  lord,  he  is  but  even  now  gone  hence : 
Here  was  he  merry ,°  hearing  of  a  song. 

Duke  S.   If  he,  compact  of  jars,°  grow  musical, 
We  shall  have  shortly  discord  in  the  spheres. 
Go,  seek  him :  tell  him  I  would  speak  with  him. 

Enter  Jaques 

First  Lord.   He  saves  my  labor  by  his  own  approach. 

Duke  S.  Why,  how  now,  monsieur!  what  a  life  is  this, 
That  your  poor  friends  must  woo  your  company  ?  lo 
What,  you  look  merrily  1 

Jaq.   A  fool,  a  fool !     I  met  a  fool  i'  the  forest, 


44  AS  YOU  LIKE  IT  [Act  II.  Sc.  vii. 

A  motley  fool ;  a  miserable  world  ! 

As  I  do  live  by  food,  I  met  a  fool ; 

Who  laid  him  down  and  basked  him  in  the  sun, 

And  railed  on  Lady  Fortune  °  in  good  terms, 

In  good  set  terms,  and  yet  a  motley  fool. 

'  Good  morrow,  fool,'  quoth  I.     '  No,  sir,'  quoth  he, 

'  Call  me  not  fool  till  heaven  hath  sent  me  fortune: '  * 

And  then  he  drew  a  dial  °  from  his  poke,  20 

And,  looking  on  it  with  lack-lustre  eye, 

Says  very  wisely,  '  It  is  ten  o'clock : 

Thus  we  may  see,'  quoth  he,  'how  the  world  wags* 

'Tis  but  an  hour  ago  since  it  was  nine ; 

And  after  one  hour  more  'twill  be  eleven ; 

And  so,  from  hour  to  hour,  we  ripe  and  ripe. 

And  then,  from  hour  to  hour,  we  rot  and  rot; 

And  thereby  hangs  a  tale.'     When  I  did  hear 

The  motley  fool  thus  moral  on  the  time, 

My  lungs  began  to  crow  like  chanticleer,  30 

That  fools  should  be  so  deep-contemplative ; 

And  I  did  laugh  sans  intermission 

An  hour  by  his  dial.     0  noble  fool ! 

A  worthy  fool !  °     Motley's  the  only  wear.** 

Duke  S.   W^hat  fool  is  this  ? 

Jaq.    0  worthy  fool !     One  that  hath  been  a  courtier, 
And  says,  if  ladies  be  but  young  and  fair. 


Act  II.  Sc.  vii.]  AS   YOU  LIKE  IT  45 

They  have  the  gift  to  know  it :  and  in  his  brain, 

Which  is  as  dry  as  the  remainder  °  biscuit 

After  a  voyage,  he  hath  strange  places  crammed        40 

With  observation,  the  which  he  vents 

In  mangled  forms.     0  that  I  were  a  fool ! 

I  am  ambitious  for  a  motley  °  coat. 

Duke  S.   Thou  shalt  have  one. 

Jaq.  It  is  my  only  suit ;  ° 

Provided  that  you  weed  your  better  judgments 
Of  all  opinion  that  grows  rank  in  them 
That  I  am  wise.     I  must  have  liberty 
Withal,  as  large  a  charter  as  the  wind. 
To  blow  on  whom  I  please ;  for  so  fools  have ; 
And  they  that  are  most  galled  with  my  folly,  50 

They  most  must  laugh.     And  why,  sir,  must  they  so  ? 
The  ^why '  is  plain  as  way  to  parish  church: 
He  that  a  fool  doth  very  wisely  hit 
Doth  very  foolishly,  although  he  smart, 
Not  to  seem  senseless  of  the  bob :  if  not, 
The  wise  man's  folly  is  anatomized  ° 
Even  by  the  squandering  glances  of  the  fool. 
Invest  me  in  my  motley ;  give  me  leave 
To  speak  my  mind,  and  I  will  through  and  through 
Cleanse  the  foul  body  of  the  infected  world,  6a 

If  they  will  patiently  receive  my  medicine. 


46  AS   YOU  LIKE  IT  [Act  II.  Sc.  vii. 

Duke  S.   Fie  on  thee  !  I  can  tell  what  thou  wouldst 
do. 

Jaq.   What,  for  a  counter,^  would  I  do  but  good  ? 

Duke  S.   Most  mischievous  foul  sin,  in  chiding  sin: 
For  thou  thyself  hast  been  a  libertine, 
As  sensual  as  the  brutish  sting  itself; 
And  all  the  embossed  sores  and  headed  evils, 
That  thou  with  license  of  free  foot  hast  °  caught, 
Wouldst  thou  disgorge  into  the  general  world. 

Jaq.   Why,  who  cries  out  on  pride,  70 

That  can  therein  tax  °  any  private  party  ? 
Doth  it  not  flow  as  hugely  as  the  sea, 
Till  that  the  weary  very  °  means  do  ebb  ? 
What  woman  in  the  city  do  I  name, 
W^hen  that  I  say  the  city-woman  bears 
The  cost  of  princes  on  unworthy  shoulders  ? 
Who  can  come  in  and  say  that  I  mean  her. 
When  such  a  one  as  she  snch  is  her  neighbor  ? 
Or  what  is  he  of  basest  function. 

That  says  his  bravery  is  not  on  my  cost,  80 

Thinking  that  I  mean  him,  but  therein  suits 
His  folly  to  the  mettle  of  my  speech  ? 
There   then;    how   then?   what  then?     Let   me   see 

wherein 
My  tongue  hath  wronged  him :  if  it  do  him  right, 


Act  II.  Sc.  vii.]  AS   YOU  LIKE  IT  47 

Then  he  hath  wronged  himself;  if  he  be  free, 
Why  then  my  taxing  like  a  wild-goose  flies, 
Unclaimed  of  any  man.     But  who  comes  here  ? 

Enter  Orlando,  hjUTi  Ms  sivord  draivn 

Orl.    Forbear,  and  eat  no  more. 

Jaq.  Why,  I  have  eat  none  yet. 

Orl.   Nor  shalt  not,  till  necessity  be  served. 

Jaq.    Of  what  kind  should  this  cock  come  of  ?        90 

Duke  S.    Art  thou  thus  boldened,  man,  by  thy  dis- 
tress ? 
Or  else  a  rude  despiser  of  good  manners, 
That  in  civility  thou  seem'st  so  empty  ? 

Orl.    You  touched  my  vein  at  first :  the  thorny  poi:^t 
Of  bare  distress  hath  ta'en  from  me  the  show 
Of  smooth  civility  :  yet  am  I  inland  bred° 
And  know  some  nurture.     But  forbear,  I  say : 
He  dies  that  touches  any  of  this  fruit° 
Till  I  and  my  affairs  are  answered. 

Jaq.   An  you  will  not  be  answered  with  reason,  I 
must  die.  100 

Duke  8.   What  would  you  have  ?     Your  gentleness" 
shall  force, 
More  than  your  force  move  us  to  gentleness. 

Orl.    I  almost  die  for  food;  and  let  me  have  it. 


48  AS  YOU  LIKE  IT  [Act  II.  Sc.  vii. 

Duke  S.    Sit  down  and  feed,  and  welcome  to  our 
table. 

Orl   Speak  you  so  gently  ?     Pardon  me,  I  pray  you  : 
I  thought  that  all  things  had  been  savage°  here ; 
And  therefore  put  I  on  the  countenance 
Of  stern  commandment.     But  whate'er  you  are 
That  in  this  desert  inaccessible,  no 

Under  the  shade  of  melancholy  boughs, 
Lose  and  neglect  the  creeping  hours  of  time ; 
If  ever  you  have  looked  on  better  days. 
If  ever  been  where  bells  have  knolled  to  church, 
If  ever  sat  at  any  good  man's  feast, 
If  ever  from  your  eyelids  wiped  a  tear 
And  know  what  'tis  to  pity  and  be  pitied. 
Let  gentleness  my  strong  enforcement  be : 
In  the  which  hope  I  blush,  and  hide  my  sword. 

DuJce  S.   True  is  it  that  we  have  seen  better  days,     120 
And  have  with  holy  bell  been  knolled  to  church. 
And  sat  at  good  men's  feasts,  and  wiped  our  eyes 
Of  drops  that  sacred  pity  hath  engendered : 
And  therefore  sit  you  down  in  gentleness 
And  take  upon  command  what  help  we  have 
That  to  your  wanting  may  be  ministered. 

Orl.   Then  but  forbear  your  food  a  little  while, 
Whiles,  like  a  doe,  I  go  to  find  my  fawn 


Act  II.  Sc.  vii.]  AS   YOU  LIKE  IT  49 

And  give  it  food.     There  is  an  old  poor  man,° 
Who  after  me  hath  many  a  weary  step  130 

Limped  in  pure  love :  till  he  be  first  sufficed, 
Oppressed  with  two  weak  evils,°  age  and  hunger, 
I  will  not  touch  a  bit. 

Duke  S.  Go  find  him  out,° 

And  we  will  nothing  waste  till  you  return. 

Orl  I  thank  ye ;  and  be  blest  for  your  good  com- 
fort !  [Exit. 

Duke  S.   Thou  seest  we  are  not  all  alone  unhappy : 
This  wide  and  universal  theatre 
Presents  more  wof  ul  pageants  than  the  scene 
Wherein  we  play  in. 

Jaq.  All  the  world's  a  stage, 

And  all  the  men  and  women  merely  players :  140 

They  have  their  exits  and  their  entrances ; 
And  one  man  in  his  time  plays  many  parts, 
His  acts  being  seven  ages.     At  first  the  infant, 
Mewling  and  puking  in  the  nurse's  arms. 
Then  the  whining  school-boy,  with  his  satchel 
And  shining  morning  face,°  creeping  like  snail 
Unwillingly  to  school.     And  then  the  lover. 
Sighing  like  furnace,  with  a  woful  ballad 
Made  to  his  mistress'  eyebrow.     Then  a  soldier, 
Full  of  strange  oaths,  and  bearded  like  the  pard,       150 


50  AS  YOU  LIKE  IT  [Act  II.  Sc.  vil 

Jealous  in  honor,  sudden  and  quick  in  quarrel, 

Seeking  the  bubble  reputation 

Even  in  the  cannon's  mouth.     And  then  the  justice, 

In  fair  round  belly  with  good  capon  lined, 

With  eyes  severe  and  beard  of  formal  cut, 

Full  of  wise  saws  and  modern  instances  ;° 

And  so  he  plays  his  part.     The  sixth  age  shifts 

Into  the  lean  and  slippered  pantaloon, 

With  spectacles  on  nose  and  pouch  on  side, 

His  youthful  hose,  well  saved,  a  world  too  wide        i6o 

For  his  shrunk  shank ;°  and  his  big  manly  voice, 

Turning  again  toward  childish  treble,  pipes 

And  whistles  in  his  sound.     Last  scene  of  all, 

That  ends  this  strange  eventful  history. 

Is  second  childishness  and  mere  oblivion. 

Sans  teeth,  sans  eyes,  sans  taste,  sans  everything. 

Re-enter  Orlando,  with  Adam 

Duke  S.   Welcome.     Set  down  your  venerable  bur- 
then. 
And  let  him  feed. 

Orl.   I  thank  you  most  for  him. 

Adam.  So  had  you  need : 

I  scarce  can  speak  to  thank  you  for  myself.  170 

Duke  S.   Welcome  j  fall  to :  I  will  not  trouble  you 


Act  II.  Sc.  vii.]  AS  YOU  LIKE  IT  61 

As  yet,  to  question  you  about  your  fortunes. 
Give  us  some  music  j  and,  good  cousin,  sing. 

Song 

Ami.         Blow,  blow,  thou  winter  wind, 
Thou  art  not  so  unkind 
As  man's  ingratitude ; 
Thy  tooth  is  not  so  keen. 
Because  thou  art  not  seen. 
Although  thy  breath  be  rude. 
Heigh-ho  !  sing,  heigh-ho  !  unto  the  green  holly :       iSo 
Most  friendship  is  feigning,  most  loving  mere  folly : 
Then,  heigh-ho  the  holly ! 
This  life  is  most  jolly. 

Freeze,  freeze,  thou  bitter  sky, 
That  dost  not  bite  so  nigh 

As  benefits  forgot : 
Though  thou  the  waters  warp, 
Thy  sting  is  not  so  sharp 

As  friend  remembered  not. 
Heigh-ho  !  sing,  &c.  190 

Duke  S.   If  that  you  were  the  good  Sir  Kowland's 
son, 
As  you  have  whispered  faithfully  you  were. 


52  AS  TOV  LIKE  IT  [Act  HI.  Sc.  i 

And  as  mine  eye  doth  his  effigies  witness 

Most  truly  limned  and  living  in  your  face, 

Be  truly  welcome  hither :  I  am  the  Duke 

That  loved  your  father :  the  residue  of  your  fortune, 

Go  to  my  cave  and  tell  me.     Good  old  man, 

Thou  art  right  welcome  as  thy  master  is. 

Support  him  by  the  arm.     Give  me  your  hand,  199 

And  let  me  all  your  fortunes  understand.         lExeunt. 


ACT  III 

Scene  I.     A  room  in  tJie  palace 

Enter  Duke  Frederick,  Lords,  and  Oliver 

Duke  F.     Not  see  him  since  ?°     Sir,  sir,  that  can- 
not be: 
But  were  I  not  the  better  part  made  mercy, 
I  should  not  seek  an  absent  argument° 
Of  my  revenge,  thou  present.     But  look  to  it : 
Find  out  thy  brother,  wheresoe'er  he  is ; 
Seek  him  with  candle ;  bring  him  dead  or  living 
Within  this  twelvemonth,  or  turn  thou  no  more 
To  seek  a  living  in  our  territory. 
Thy  lands  and  all  things  that  thou  dost  call  thine 


Act  III.  Sc.  ii.]  AS   YOU  LIKE  IT  53 

Worth  seizure  do  we  seize  into  our  hands,  lo 

Till  thou  canst  quit  thee  by  thy  brother's  mouth 
Of  what  we  think  against  thee.° 

on.    0  that  your  Highness  knew  my  heart  in  this  ! 
I  never  loved  my  brother  in  my  life. 

Duke  F.   More  villain  thou.     Well,  push  him  out  of 
doors  ;° 
And  let  my  officers  of  such  a  nature 
Make  an  extent°upon  his  house  and  lands : 
Do  this  expediently  and  turn  him  going.  [^ExeunL 

r^ 

Scene  II.     The  fored 
Enter  Orlando,  with  a  paper 

Orl,   Hang  there,  my  verse,°  in  witness  of  my  love : 

And  thou,  thrice-crowned°  queen  of  night,  survey 
With  thy  chaste  eye,  from  thy  pale  sphere  above. 

Thy  huntress'  name  that  my  full  life  doth  sway. 
0  Kosalind !  these  trees  shall  be  my  books 

And  in  their  barks  my  thoughts  I'll  character  j 
That  every  eye  which  in  this  forest  looks 

Shall  see  thy  virtue  witnessed  everywhere. 
Run,  run,  Orlando ;  carve  on  every  tree 
The  fair,  the  chaste,  and  unexpressive  she.°     \^Exit.  lo 


54  AS  YOU  LIKE  IT  [Act  III.  Sc.  il 

Enter  Corin  and  Touchstone 

Cor,  And  how  like  you  this  shepherd's  life,  Master 
Touchstone  ? 

To2ich.  Truly,  shepherd,  in  respect  of  itself,  it  is  a 
good  life ;  but  in  respect  that  it  is  a  shepherd's  life, 
it  is  naught.°  In  respect  that  it  is  solitary,  I  like 
it  very  well ;  but  in  respeCo  that  it  is  private,  it  is  a 
very  vile  life.  Now,  in  respecu  it  is  in  the  fields, 
it  pleaseth  me  well;  but  in  res^>ect  it  is  not  in  the 
court,  it  is  tedious.  As  it  i::  a  spare  life,  look  20 
you,  it  fits  my  humor°  well ;  but  as  there  is  no  more 
plenty  in  it,  it  goes  much  against  my  stomach.  Hast 
any  philosophy  in  thee,  shepherd  ? 

Cor.  No  more  but  that  I  Zinow  the  more  one  sickens 
the  worse  at  ease  he  ic ;  and  that  he  that  wants  money, 
means,  and  content  is  withoi.";  three  good  friends ;  that 
the  property  of  rain  is  to  wet  and  fire  to  burn ;  that 
good  pasture  makes  fat  sheep,  and  that  a  great 
cause  of  the  night  is  lack  of  the  sun ;  that  he  that  30 
hath  learned  no  wit  by  nature  nor  art  may  com- 
plain of  good  breeding  or  comes  of  a  very  dull  kin- 
dred. 

Touch.  Such  a  one  is  a  natural  philosopher.  "Wast 
ever  in  court,  shepherd  ? 


Act  III.  Sc.  ii.]  AS   YOU  LIKE  IT  65 

Co7\   No,  truly. 

Touch.   Then  thou  art  damned. 

Cor.   Nay,  I  hope. 

Touch.  Truly,  thou  art  damned,  like  an  ill-roasted 
egg°  all  on  one  side. 

Cor.    For  not  being  at  court  ?     Your  reason.  40 

Touch.  Why,  if  thou  never  wast  at  court,  thou  never 
sawest  good  manners ;  if  thou  never  sawest  good  man- 
ners, then  thy  manners  must  be  wicked ;  and  wicked- 
ness is  sin,  and  sin  is  damnation.  Thou  art  in  a 
parlous  state,°  shepherd. 

Cor.  Not  a  whit.  Touchstone :  those  that  are  good 
manners  at  the  court  are  as  ridiculous  in  the  country 
as  the  behavior  of  the  country  is  most  mockable  at 
the  court.  You  told  me  you  salute  not  at  the  court, 
but  you  kiss  your  hands :  that  courtesy  would  be  50 
uncleanly,  if  courtiers  were  shepherds. 

Touch.    Instance,  briefly ;  come,  instance. 

Cor.  Why,  we  are  still  handling  our  ewes,  and  their 
fells,  you  know,  are  greasy. 

Touch.  Why,  do  not  your  courtier's  hands  sweat  ? 
and  is  not  the  grease  of  a  mutton  as  wholesome  as 
the  sweat  of  a  man?  Shallow,  shallow.  A  better 
instance,  I  say  ;  come. 

Cor.   Besides,  our  hands  are  hard.  60 


56  AS  YOU  LIKE  IT  [Act  III.  Sc.  ii. 

Touch.  Your  lips  will  feel  them  the  sooner.  Shal- 
low again.     A  more  sounder°  instance,  come. 

Cor.  And  they  are  often  tarred  over  with  the  sur- 
gery of  our  sheep ;  and  would  you  have  us  kiss  tar  ? 
The  courtier's  hands  are  perfumed  with  civet. 

Touch.  Most  shallow  man !  thou  worms-meat,  in 
respect  of  a  good  piece  of  flesh  indeed !  Learn  of  the 
wise,  and  perpend :  civet  is  of  a  baser  birth  than  tar, 
the  very  uncleanly  flux  of  a  cat.  Mend  the  in-  ^o 
stance,  shepherd. 

Cor.    You  have  too  courtly  a  wit  for  me :  I'll  rest. 

Touch.  Wilt  thou  rest  damned  ?  °  God  help  thee, 
shallow  man !  God  make  incision  in  thee !  thou  art 
raw. 

Cor.  Sir,  T  am  a  true  laborer :  I  earn  that  I  eat,  get 
that  I  wear,  owe  no  man  hate,  envy  no  man's  happi- 
ness, glad  of  other  men's  good,  content  with  my  harm, 
and  the  greatest  of  my  pride  is  to  see  my  ewes  80 
graze  and  my  lambs  suck. 

Touch.  That  is  another  simple  sin  in  you.  If  thou 
beest  not  damned  for  this,  the  devil  himself  will  have 
no  shepherds ;  I  cannot  see  else  how  thou  shouldst 
'scape.  90 

Cor.  Here  comes°  young  Master  Ganymede,  my 
new  mistress's  brother.° 


Act  III.  Sc.  ii.]  AS   YOU  LIKE  IT  57 

Eyiter  Rosalind,  ivith  a  paper,  reading 

Bos.         From  the  east  to  western  Ind, 
No  jewel°  is  like  Eosalind. 
Her  worth,  being  mounted  on  the  wind, 
Through  all  the  world  bears  Rosalind. 
All  the  pictures  fairest  lined 
Are  but  black  to  Rosalind. 
Let  no  face  be  kept  in  mind 
But  the  fair  of  Rosalind.  loo 

Touch.  I'll  rhyme  you  so  eight  years  together 
dinners  and  suppers  and  sleeping-hours  excepted:  it 
is  the  right  butter- women's  rank°  to  market. 

Ros.    Out,  fool ! 

Touch.   For  a  taste : 

If  a  hart  do  lack  a  hind, 

Let  him  seek  out  Rosalind. 

If  the  cat  will  after  kind. 

So  be  sure  will  Rosalind.  no 

Winter  garments  must  be  lined, 

So  must  slender  Rosalind. 

They  that  reap  must  sheaf  and  bind; 

Then  to  cart  with  Rosalind. 

Sweetest  nut  hath  sourest  rind, 


58  AS  YOU  LIKE  IT  [Act  HI.  Sc.  ii. 

Such,  a  nut  is  Kosalind. 

He  that  sweetest  rose  will  find, 

Must  find  love's  prick  and  Kosalind. 

This  is  the  very  false  gallop  of  verses :   why  do  you 
infect  yourself  with  them  ?  120 

Ros.   Peace,   you  dull   fool !    I  found  them  on  a 
tree. 

Touch.   Truly,  the  tree  yields  bad  fruit. 

Ros.   I'll  graff  it  with  you,  and  then  I  shall  graff 

it  with  a  medlar :  °  then  it  will  be  the  earliest  fruit 

l^i'  the  country  ;   for  you'll  be  rotten  ere  you  be  half 

^ripe,  and  that's  the  right  virtue  of  the  medlar. 

W      Touch.   You  have  said;   but  whether  wisely  or  no, 

let  the  forest  judge.  130 

Enter  Celia,  with  a  writing 
Ros.   Peace ! 
Here  comes  my  sister,  reading  :  stand  aside. 
Cel.   [i^eads'j  Why  should  this  a  desert  be  ? 
For  it  is  unpeopled  ?     No  ; 
Tongues  I'll  hang  on  every  tree, 
That  shall  civil  sayings  show: 
Some,  how  brief  the  life  of  man 

Euns  his  erring  pilgrimage, 
That  the  stretching  of  a  span 


Act  III.  Sc.  ii.]  AS   YOU  LIKE  IT  59 

Buckles  in  his  sum  of  age  ;  140 

Some,  of  violated  vows 

'Twixt  the  souls  of  friend  and  friend : 
But  upon  the  fairest  boughs, 

Or  at  every  sentence  end, 
Will  I  Rosalinda  write, 

Teaching  all  that  read  to  know 
The  quintessence  of  every  sprite 

Heaven  would  in  little  show. 
Therefore  Heaven  Nature  charged 

That  one  body  should  be  filled  150 

With  all  graces  wide-enlarged : 

Nature  presently  distilled 
Helen's  cheek,°  but  not  her  heart, 

Cleopatra's  majesty, 
Atalanta's  better  part,° 

Sad  Lucretia's  modesty.° 
Thus  Eosalind  of  many  parts 

By  heavenly  synod  was  devised ; 
Of  many  faces,  eyes, and  hearts. 

To  have  the  touches  dearest  prized.       160 
Heaven  would  that  she  these  gifts  should  have, 
And  I  to  live  and  die  her  slave. 

Bos.   0  most  gentle  pulpiter  1°  what  tedious  hom* 


60  AS   YOU  LIKE  IT  [Act  III.  Sc.  il 

ily  of  love  have  you  wearied  your  parishioners  withal, 
and  never  cried  '  Have  patience,  good  people  '  ! 

Cel.  How  now !  back,  friends !  Shepherd,  go  off  a 
little.     Go  with  him,  sirrah. 

Touch.  Come,  shepherd,  let  us  make  an  honorable 
retreat;  though  not  with  bag  and  baggage,  yet  170 
with  scrip  and  scrippage.° 

[^Exeunt  Corix  aiid  Touchstoxe. 

Cel.   Didst  thou  hear  these  verses  ? 

Bos.  0,  yes,  I  heard  them  all,  and  more  too ;  for 
some  of  them  had  in  them  more  feet  than  the  verses 
would  bear. 

Cel.  That's  no  matter:  the  feet  might  bear  the 
verses. 

Mos.  Ay,  but  the  feet  were  lame°  and  could  not  bear 
themselves  without  the  verse  and  therefore  stood 
lamely  in  the  verse.  180 

Cel.  But  didst  thou  hear  without  wondering  how 
thy  name  should  be  hanged  and  carved  upon  these 
trees  ? 

Bos.  I  was  seven  of  the  nine  days°  out  of  the  won- 
der before  you  came;  for  look  here  what  I  found 
on  a  palm  tree.®  I  was  never,  so  be-rhymed  since 
Pythagoras'  time,  that  I  was  an  Irish  rat,°  which 
I  can  hardly  remember 


Act  III.  Sc.  ii.]  AS   YOU  LIKE  IT  61 

Cel.   Trow  you  who  hath  done  this  ? 

Bos.   Is  it  a  man  ?  i^o 

Ce?.  And  a  chain,  that  you  once  wore,  about  his 
neck.     Change  you  color  ? 

Mos.  I  prithee,  who  ?  ° 

Cel  C  Lord,  Lord !  it  is  a  hard  matter  for  friends 
to  meet ;  °  but  mountains  may  be  removed  with  earth- 
quakes and  so  encounter. 

Bos.   Nay,  but  who  is  it  ? 

Cel.  Is  it  possible  ? 

Bos.  Nay,  I  prithee  now  with  most  petitionary 
vehemence,  tell  me  who  it  is.  200 

Cel.  0  wonderful,  wonderful,  and  most  wonderful 
wonderful !  and  yet  again  wonderful,  and  after  that, 
out  of  all  whooping  !  ° 

Bos.  Good  my  complexion !  °  dost  thou  think,  though 
I  am  caparisoned  like  a  man,  I  have  a  doublet  and 
hose  in  my  disposition  ?  One  inch  of  delay  more 
is  a  South-sea  of  discovery ;  °  I  prithee,  tell  me 
who  is  it  quickly,  and  speak  apace.  I  would 
thou  couldst  stammer,  that  thou  mightst  pour 
this  concealed  man  out  of  thy  mouth,  as  wine  210 
comes  out  of  a  narrow-mouthed  bottle,  either  too 
much  at  once,  or  none  at  all.  I  prithee,  take  the 
cork  out  of  thy  mouth   that   I   may   drink   thy   tid- 


62  AS  YOU  LIKE  IT  [Act  III.  Sc.  ii. 

ings.  Is  he  of  God's  making?  What  manner  of 
man?  Is  his  head  worth  a  hat?  Or  his  chin  worth 
a  beard  ? 

Cel   Nay,  he  hath  but  a  little  beard. 

Ros.  Why,  God  will  send  more,  if  the  man  will  220 
be  thankful :  let  me  stay  the  growth  of  his  beard,  if 
thou  delay  me  not  the  knowledge  of  his  chin. 

Cel.  It  is  young  Orlando,  that  tripped  up  the  wres- 
tler's heels  and  your  heart  both  in  an  instant. 

Ros.  Nay,  but  the  devil  take  mocking :  speak  sad 
brow°  and  true  maid. 

Cel.   V  faith,  coz,  'tis  he. 

Bos.    Orlando  ? 

Cel.   Orlando.  230 

Ros.  Alas  the  day  !  what  shall  I  do  with  my  doublet 
and  hose?  What  did  he  when  thou  sawest  him? 
What  said  he  ?  How  looked  he  ?  Wherein  went  he  ? 
What  makes  he  here  ?  Did  he  ask  for  me  ?  Where 
remains  he  ?  How  parted  he  with  thee  ?  and  when 
shalt  thou  see  him  again  ?     Answer  me  in  one  word. 

Cel.  You  must  borrow  me  Gargantua's  mouth°  first  : 
'tis  a  word  too  great  for  any  mouth  of  this  age's  size. 
To  say  ay  and  no  to  these  particulars  is  more  than  240 
to  answer  in  a  catechism. 

Ros.    But  doth  he  know  that  I  am  in   this   forest 


Act  III.  Sc.  ii.]  AS  YOU  LIKE  IT  63 

and  in  man's  apparel  ?  Looks  he  as  freshly  as  he  did 
the  day  he  wrestled  ? 

Cel.  It  is  as  easy  to  count  atomies  as  to  resolve  the 
propositions  of  a  lover ;  but  take  a  taste  of  my  finding 
him,  and  relish  it  v^ith  good  observance.  I  found  him 
under  a  tree,  like  a  dropped  acorn. 

Eos.  It  may  well  be  called  Jove's  tree,°  when  it 
drops  forth  such  fruit.  250 

Cel.   Give  me  audience,  good  madam. 

Hos.  Proceed. 

Cel.  There  lay  he,  stretched  along,  like  a  wounded 
knight. 

Bos.  Though  it  be  pity  to  see  such  a  sight,  it  well 
becomes  the  ground. 

Cel.  Cry  '  holla '  to  thy  tongue,  I  prithee  ;  it  curvets 
unseasonably.     He  was  furnished  like  a  hunter. 

Bos.   0,  ominous !  he  comes  to  kill  my  heart.°      260 

Cel  I  would  sing  my  song  without  a  burden :°  thou 
bringest  me  out  of  tune. 

Bos.  Do  you  not  know  I  am  a  woman?  when  I 
think,  I  must  speak.°     Sweet,  say  on. 

Cel.   You  bring  me  out.     Soft !  comes  he  not  here  ? 

Enter  Orlando  and  Jaques 
Bos.   Tis  he :  slink°  by,  and  note  him. 


64  AS   YOU  LIKE  IT  [Act  III.  Sc.  ii. 

Jaq.  I  thank  you  for  your  company;  but,  good 
faith,  I  had  as  lief  have  been  myself  alone.  270 

Orl   And  so  had  I ;  but  yet,  for  fashion  sake, 
I  thank  you  too  for  your  society. 

Jaq.    God  buy  you :  let's  meet  as  little  as  we  can. 

Orl.    I  do  desire  we  may  be  better  strangers. 

Jaq.  I  pray  you,  mar  no  more  trees  with  writing 
love-songs  in  their  barks. 

Orl.  I  pray  you,  mar  no  more  of  my  verses  with 
reading  them  ill-favoredly. 

Jaq.   Eosalind  is  your  love's  name  ?  280 

Orl.    Yes,  just. 

Jaq.   I  do  not  like  her  name. 

Orl.  There  was  no  thought  of  pleasing  you  when 
she  was  christened. 

Jaq.   What  stature  is  she  of? 

Orl.   Just  as  high  as  my  heart.° 

Jaq.  You  are  full  of  pretty  answers.  Have  you  not 
been  acquainted  with  goldsmiths'  wives,  and  conned 
them  out  of  rings  ?  ° 

Orl.  Not  so;  but  I  answer  you  right  painted  290 
cloth,°  from  whence  you  have  studied  your  ques- 
tions. 

Jaq.  You  have  a  nimble  wit :  I  think  'twas  made 
of  Atalanta's  heels.°    Will  you  sit  down  with  me  ? 


Act  III.  Sc.  ii.]  AS  YOU  LIKE  IT  ^5 

and  we  two  will  rail  against  our  mistress  the  world, 
and  all  our  misery. 

Orl.  I  will  chide  no  breather  in  the  world  but 
myself,  against  whom  I  know  most  faults. 

Jaq.    The  worst  fault  you  have  is  to  be  in  love.     300 

Orl  'Tis  a  fault  I  will  not  change  for  your  best 
virtue.     I  am  weary  of  you. 

Jaq.  By  my  troth,  I  was  seeking  for  a  fool  when  I 
found  you. 

Orl  He  is  drowned  in  the  brook  :  look  but  in,°  and 
you  shair  see  him. 

Jaq.   There  I  shall  see  mine  own  figure. 

Orl.   Which  I  take  to  be  either  a  fool  or  a  cipher. 

Jaq.  I'll  tarry  no  longer  with  you :  farewell,  good 
Signior  Love.  31° 

Orl.  I  am  glad  of  your  departure :  adieu,  good 
Monsieur  Melancholy.®  lExit  Jaques. 

Eos.  lAsicle  to  Celia]  I  will  speak  to  him  like  a 
saucy  lackey,  and  under  that  habit  play  the  knave 
with  him.     Do  you  hear,  forester  ? 

Orl.   Very  well :  what  would  you  ? 

Ros.   I  pray  you,  what  is't  o'clock  ? 

Orl.  You  should  ask  me  what  time  o'  day :  there 's 
no  clock  in  the  forest. 

Bos.   Then  there  is  no  true  lover  in  the  forest ;     3S9 


66  AS  YOU  LIKE  IT  [Act  III.  Sc.  ii. 

else  sigliing  every  minute  and  groaning  every  hour 
would  detect  the  lazy  foot  of  Time  as  well  as  a  clock. 

Orl  And  why  not  the  swift  foot  of  Time  ?  had  not 
that  been  as  proper  ? 

Bos.  By  no  means,  sir :°  Time  travels  in  divers 
paces  with  divers  persons.  I'll  tell  you  who  Time 
ambles  withal,  who  Time  trots  withal,  who  Time 
gallops  withal,  and  who  he  stands  still  withal. 

Orl.   I  prithee,  who°  doth  he  trot  withal  ?  330 

Bos.  Marry,  he  trots  hard  with  a  young  maid 
between  the  contract  of  her  marriage  and  the  day  it  is 
solemnized :  if  the  interim  be  but  a  se'nnight.  Time's 
pace  is  so  hard  that  it  seems  the  length  of  seven  year. 

Orl   Who  ambles  Time  withal  ? 

Bos.  With  a  priest  that  lacks  Latin,  and  a  rich 
man  that  hath  not  the  gout ;  for  the  one  sleeps  easily 
because  he  cannot  study,  and  the  other  lives  mer-  340 
rily  because  he  feels  no  pain;  the  one  lacking  the 
burden  of  lean  and  wasteful  learning,  the  other  know- 
ing no  burden  of  heavy  tedious  penury :  these  Time 
ambles  withal.  ° 

Orl   Who  doth  he  gallop  withal? 

Bos.  With  a  thief  to  the  gallows ;  for  though  he  go 
as  softly  as  foot  can  fall,  he  thinks  himself  too  soon 
there. 


Act  hi.  Sc.  ii.]  AS   YOU  LIKE  IT  67 

Orl   Who  stays  it  still  withal  ? 

Bos.  With  lawyers  in  the  vacation ;  for  they  sleep 
between  term  and  term  and  then  they  perceive  350 
not  how  Time  moves. 

Orl   Where  dwell  you,  pretty  youth  ?  ° 

Eos.  With  this  shepherdess,  my  sister :  here  in  the 
skirts  of  the  forest,  like  fringe  upon  a  petticoat. 

Orl.   Are  you  native  of  this  place  ? 

Eos.  As  the  cony  that  you  see  dwell  where  she  is 
kindled. 

Orl.  Your  accent  is  something  finer  than  you  could 
purchase  in  so  removed  a  dwelling.  360 

Eos.  I  have  been  told  so  of  many:  but  indeed  an 
old  religious  uncle °  of  mine  taught  me  to  speak,  who 
was  in  his  youth  an  inland  man ;  one  that  knew  court- 
ship too  well,  for  there  he  fell  in  love.  I  have  heard 
him  read  many  lectures  against  it,  and  I  thank  God  I 
am  not  a  woman,  to  be  touched  with  so  many  giddy 
offences  as  he  hath  generally  taxed  their  whole  sex 
withal. 

Orl.  Can  you  remember  any  of  the  principal  evils 
that  he  laid  to  the  charge  of  women  ?  370 

Eos.  There  were  none  principal ;  they  were  all  like 
one  another  as  half-pence  are,  every  one  fault  seeming 
monstrous  till  his°  fellow-fault  came  to  match  it. 


68  AS   YOU  LIKE  IT  [Act  in.  Sc.  n. 

Orl.   I  prithee,  recount  some  of  them. 

Bos.  No,  I  will  not  cast  away  my  physic  but  on 
those  that  are  sick.  There  is  a  man  haunts  the  forest, 
that  abuses  our  young  plants  with  carving  Eosalind 
on  their  barks;  hangs  odes  upon  hawthorns  and  380 
elegies  on  brambles ;  all,  forsooth,  deifying  °  the  name 
of  Eosalind :  if  I  could  meet  that  fancy-monger,  I 
would  give  him  some  good  counsel,  for  he  seems  to 
have  the  quotidian  of  love  upon  him. 

Orl  I  am  he  that  is  so  love-shaked:  °  I  pray  you, 
tell  me  your  remedy. 

Mos.  There  is  none  of  my  uncle's  marks  upon  you: 
he  taught  me  how  to  know  a  man  in  love ;  in  which 
cage  of  rushes  I  am  sure  you  are  not  prisoner.  390 

Orl.   What  were  his  marks  ? 

Ros.  A  lean  cheek,  which  you  have  not;  a  blue 
eye  and  sunken,  which  you  have  not ;  an  unquestion- 
able spirit,°  which  you  have  not ;  a  beard  neglected, 
which  you  have  not ;  but  I  pardon  you  for  that,  for 
simply  your  having°  in  beard  is  a  younger  brother's 
revenue :  then  your  hose  should  be  ungartered,  your 
bonnet  unhanded,  your  sleeve  unbuttoned,  your  shoe 
untied  and  everything  about  you  demonstrating  400 
a  careless  desolation ;  but  you  are  no  such  man ; 
you  are   rather  point-device  °  in  your  accoutrements, 


Act  III.  Sc.  ii.]  AS  YOU  LIKE  IT  69 

as  loving  yourself  than  seeming  the  lover  of  any- 
other. 

O/'L  Fair  youth,  I  would  I  could  make  thee  believe 
I  love. 

Ros.  Me  believe  it !  °  you  may  as  soon  make  her 
that  you  love  believe  it ;  which,  I  warrant,  she  is  apter 
to  do  than  to  confess  she  does :  that  is  one  of  the 
points  in  the  which  women  still  give  the  lie  to  their 
consciences.  But,  in  good  sooth,  are  you  he  that  410 
hangs  the  verses  on  the  trees,  wherein  Kosalind  is  so 
admired  ? 

O/'L  I  swear  to  thee,  youth,  by  the  white  hand  of 
Eosalind,  I  am  that  he,  that  unfortunate  he. 

Ros.  But  are  you  so  much  in  love  as  your  rhymes 
speak  ? 

Oii.  iSTeither  rhyme  nor  reason  can  express  how 
much. 

Eos.  Love  is  merely  a  madness;  and,  I  tell  420 
you,  deserves  as  well  a  dark  house  and  a  whip  as  mad- 
men do :  and  the  reason  why  they  are  not  so  punished 
and  cured  is,  that  the  lunacy  is  so  ordinary  that  the 
whippers  are  in  love  too.  Yet  I  profess  curing  it  by 
counsel. 

Orl    Did  you  ever  cure  any  so  ? 

Eos.    Yes,   one,  and  in  this  manner.     He  was  to 


70  AS  TOU  LIKE  IT  [Act  HI.  Sc.  ii. 

imagine  me  his  love,  his  mistress ;  and  I  set  him  every 
day  to  woo  me :  at  which  time  would  I,  being  but  a 
moonish  youth,  grieve,  be  effeminate,  changeable,  430 
longing  and  liking ;  proud,  fantastical,  apish,  shallow, 
inconstant,  full  of  tears,  full  of  smiles ;  for  every 
passion  something  and  for  no  passion  truly  anything, 
as  boys  and  women  are  for  the  most  part  cattle  of 
this  color :  would  now  like  him,  now  loathe  him ;  then 
entertain  him,  then  forswear  him ;  now  weep  for  him, 
then  spit  at  him;  that°  I  drave  my  suitor  from  his 
mad  humor  of  love  to  a  living  humor  of  madness ; 
which  was,  to  forswear  the  full  stream  of  the  440 
world  and  to  live  in  a  nook  merely  monastic.  And 
thus  I  cured  him ;  and  this  way  will  I  take  upon  me 
to  wash  your  liver  as  clean  as  a  sound  sheep's  heart, 
that  there  shall  not  be  one  spot  of  love  in't. 

OrL    I  would  not  be  cured,  youth. 

Bos.  I  would  cure  you,  if  you  would  but  call  me 
Rosalind  and  come  every  day  to  my  cote  and  woo  me. 

Orl  Now,  by  the  faith  of  my  love,  I  will :  tell  me 
where  it  is.  450 

Eos.  Go  with  me  to  it  and  I'll  show  it  you :  and  by 
the  way°  you  shall  tell  me  where  in  the  forest  you  live. 
Will  you  go  ? 

OW.   With  all  my  heart,  good  youth. 


Act  III.  Sc.  iii.]  AS  YOU  LIKE  IT  7J 

Eos.  Nay,  you  must  call  me  Rosalind.  Come, 
sister,  will  you  go  ?  lExeunt. 

Scene  III.     TJie  forest 
Enter  Touchstone  and  Audrey  ;  Jaques  behind 

Touch.  Come  apace,  good  Audrey :  I  will  fetch  up 
your  goats,  Audrey.  And  how,  Audrey  ?  am  I  the 
man  yet  ?  doth  my  simple  feature  content  you  ?' 

And.  Your  features !  Lord  warrant  us !  what 
features  ?  ° 

Touch.  I  am  here  with  thee  and  thy  goats,  as  the 
most  capricious  poet,  honest  Ovid,°  was  among  the 
Goths.° 

Jaq.  \_Aside']  0  knowledge  ill-inhabited,  worse  lo 
than  Jove  in  a  thatched  house  !  ° 

Touch.  When  a  man's  verses  cannot  be  understood, 
nor  a  man's  good  wit  seconded  with  the  forward  child, 
understanding,  it  strikes  a  m'an  more  dead  than  a 
great  reckoning"  in  a  little  room.  Truly,  I  would  the 
gods  had  made  thee  poetical. 

Aud.  I  do  not  know  what  '  poetical '  is  :  is  it  honest 
in  deed  and  word  ?  is  it  a  true  thing  ? 

Touch.   No,  truly  ;  for  the  truest  poetry  is  the  most 


72  AS   YOU  LIKE  IT         [Act  III.  Sc.  iii. 

feigning  ;  and  lovers  are  given  to  poetry,  and  what  20 
they  swear  in  poetry  may  be  said  as  lovers  they  do 
feign. 

Aud.  Do  you  wish  then  that  the  gods  had  made  me 
poetical  ? 

Touch.  I  do,  truly ;  for  thou  swearest  to  me  thou 
art  honest :  now,  if  thou  wert  a  poet,  I  might  have 
some  hope  thou  didst  feign. 

Aud.   Would  you  not  have  me  honest  ? 

Touch.  'No,  truly,  unless  thou  wert  hard-favored; 
for  honesty  coupled  to  beauty  is  to  have  honey  a  30 
sauce  to  sugar. 

Jaq.     \_Aside']    A  material  fool ! 

Aud.  Well,  I  am  not  fair ;  and  therefore  I  pray  the 
gods  make  me  honest. 

Touch.  Truly,  and  to  cast  away  honesty  upon  a  foul 
slut  were  to  put  good  meat  into  an  unclean  dish. 

Aud.  I  am  not  a  slut,  though  I  thank  the  gods  I  am 
foul.° 

Touch.  Well,  praised  be  the  gods  for  thy  foul-  40 
ness  !  sluttishness  may  come  hereafter.  But  be  it  as 
it  may  be,  I  will  marry  thee,  and  to  that  end  I  have 
been  with  Sir  Oliver  Martext°  the  vicar  of  the  next 
village,  who  hath  promised  to  meet  me  in  this  place 
of  the  forest  and  to  couple  us. 


Act  III.  Sc.  iii.]  AS   YOU  LIKE  IT  73 

Jaq.     lAside^    I  would  fain  see  this  meeting. 

Aud.   Well,  the  gods  give  us  joy  !° 

Touch.  Amen.  A  man  may,  if  he  were  of  a  fearful 
heart,  stagger  in  this  attempt;  for  here  we  have  no 
temple  but  the  wood,  no  assembly  but  horn-beasts.  50 
But  what  though  ?    Courage  !    Here  comes  Sir  Oliver. 

Enter  Sir  Oliver  Martext 

Sir  Oliver  Martext,  you  are  well  met :  will  you  dis- 
patch us  here  under  this  tree,  or  shall  we  go  with  you 
to  your  chapel  ? 

Sir  OIL    Is  there  none  here  to  give  the  woman? 

Touch.   I  will  not  take  her  on  gift  of  any  man. 

Sir  on.  Truly,  she  must  be  given,  or  the  mar-  70 
riage  is  not  lawful. 

Jaq.   Proceed,  proceed  :  I'll  give  her. 

Touch.  Good  even,  good  Master  What-ye-call  't :  °  ho  w 
do  you,  sir  ?  You  are  very  well  met :  God  'ild  you  for 
your  last  company :  I  am  very  glad  to  see  you  :  even 
a  toy  in  hand  here,  sir  :  nay,  pray  be  covered. ° 

Jaq.   Will  you  be  married,  motley  ? 

Touch.  As  the  ox  hath  his  bow,  sir,  the  horse  80 
his  curb  and  the  falcon  her  bells,  so  man  hath 
his  desires;  and  as  pigeons  bill,  so  wedlock  would 
be  nibbling. 


74  AS   YOU  LIKE  IT         [Act  III.  Sc.  iii. 

Jaq.  And  will  you,  being  a  man  of  your  breeding, 
be  married  under  a  bush  like  a  beggar  ?  Get  you  to 
church,  and  have  a  good  priest  that  can  tell  you  what 
marriage  is  :  this  fellow  will  but  join  you  together  as 
they  join  wainscot ;  then  one  of  you  will  prove  a 
shrunk  panel,  and  like  green  timber  warp,  warp.  90 
Touch.  [Aside']  I  am  not  in  the  mind  but  I  were 
better  to  be  married  of  him  than  of  another :  for  he  is 
not  like  to  marry  me  well  ;  and  not  being  well  mar- 
ried, it  will  be  a  good  excuse  for  me  hereafter  to  leave 
my  wife. 

Jaq.    Go  thou  with  me,  and  let  me  counsel  thee. 
Touch.  Come,  sweet  Audrey  : 
We  must  be  married,  or  we  must  live  in  bawdry. 
Farewell,  good  Master  Oliver :  not,  —  100 

0  sweet  Oliver, 
0  brave  Oliver, 
Leave  me  not  behind  thee : 
but,  — 

Wind  away, 
Begone,  I  say, 
I  will  not  to  wedding  with  thee. 
\_Exeunt  Jaques,  Touchsto^t:,  and  Audrey. 
Sir  on.    'Tis  no  matter:   ne'er  a  fantastical  knave 
of  them  all  shall  flout  me  out  of  my  calling.°'     \_Exit. 


Act  III.  Sc.  iv.]  AS   YOU  LIKE  IT  75 

Scene  IY.     TJie  forest 
Enter  Kosalixd  and  Celia 

Ros.   Never  talk  to  me ;  I  will  weep. 

Cel.  Do,  I  prithee ;  bat  yet  have  the  grace  to  con- 
sider that  tears  do  not  become  a  man. 

Ros.   But  have  I  not  cause  to  weep  ? 

Cel.  As  good  cause  as  one  would  desire ;  therefore 
weep. 

Ros.    His  very  hair  is  of  the  dissembling  color.° 

Cel.  Something  browner  than  Judas's:  marry,  his 
kisses  are  Judas's  own  children.  lo 

Ros.    V  faith,  his  hair  is  of  a  good  color. 

Cel.  An  excellent  color :  youi'  chestnut"  was  ever 
the  only  color. 

Ros.  And  his  kissing  is  as  full  of  sanctity  as  the 
touch  of  holy  bread. 

Cel.  He  hath  bought  a  pair  of  cast  lips"  of  Diana : 
a  nun  of  winter's  sisterhood  kisses  not  more  re- 
ligiously ;  the  very  ice  of  chastity  is  in  them. 

Ros.  But  why  did  he  swear  he  would  come  this  20 
morning,  and  comes  not  ? 

Cel.   Nay,  certainly,  there  is  no  truth  in  him. 

Ros.   Do  you  think  so  ? 


76  AS   YOU  LIKE  IT  [Act  III.  Sc.  iv. 

Cel.  Yes  ;  I  think  lie  is  not  a  pick-purse  nor  a 
horse-stealer ;  but  for  his  verity  in  love,  I  do  think 
him  as  concave  as  a  covered  goblet°  or  a  worm-eaten 
nut. 

Ros.   Kot  true  in  love  ? 

Cel.   Yes,  when  he  is  in ;  but  I  think  he  is  not  in.    30 

Bos.  You  have  heard  him  swear  downright  he 
was. 

Cel.  '  Was '°  is  not  '  is ' :  besides,  the  oath  of  a 
lover  is  no  stronger  than  the  word  of  a  tapster; 
they  are  both  the  confirmer  of  false  reckonings. 
He  attends  here  in  the  forest  on  the  Duke  your 
father. 

Eos.  I  met  the  Duke  yesterday  and  had  much  ques- 
tion with  him  :  he  asked  me  of  what  parentage  I  was  ; 
I  told  him,  of  as  good  as  he ;  so  he  laughed  and  let  40 
me  go.  But  what°talk  we  of  fathers,  when  there  is 
such  a  man  as  Orlando  ? 

Cel.  0,  that's  a  brave  man !  he  writes  brave  verses, 
speaks  brave  words,  swears  brave  oaths,  and  breaks 
them  bravely,  quite  traverse,°  athwart  the  heart  of  his 
lover ;  as  a  puisny  tilter,  that  spurs  his  horse  but  on 
one  side,  breaks  his  staff  like  a  noble  goose :  but  all's 
brave  that  youth  mounts  and  folly  guides.  Vfho 
comes  here  ? 


Act  III.  Sc.  v.]  AS   YOU  LIKE  IT  77 

Enter  Corin 

Cor.    Mistress  and  master,  you  have  oft  inquired     50 
After  the  shepherd  that  complained  of  love, 
Who°you  saw  sitting  by  me  on  the  turf. 
Praising  the  proud  disdainful  shepherdess 
That  was  his  mistress. 

Cel  Well,  and  what  of  him  ? 

Cor.    If  you  will  see  a  pageant  truly  played, 
Between  the  pale  complexion  of  true  love 
And  the  red  glow  of  scorn  and  proud  disdain, 
Go  hence  a  little  and  I  shall  conduct  you, 
^f  you  will  mark  it. 

Eos.  0,  come,  let  us  remove : 

The  sight  of  lovers  feedeth  those  in  love.  60 

Bring  us  to  this  sight,  and  you  shall  say 
I'll  prove  a  busy  actor°  in  their  play.  [Exeunt. 

Scene  V.   Another  part  of  the  forest 
Enter  Silvius  and  Phebe 
Sil    Sweet  Phebe,  do  not  scorn  me  ;  do  not,  Phebe ; 
Say  that  you  love  m6  not,  but  say  not  so 
In  bitterness.     The  common  executioner. 
Whose  heart  the  accustomed  sight  of  death   makes 
hard. 


78  AS  YOU  LIKE  IT  [Act  III.  Sc.  v. 

Falls"  not  the  axe  upon  the  humbled  neck 
But  first  begs  pardon :  will  you  sterner  be 
Than  he  that  dies  and  lives  by  bloody  drops  ? 

Enter  Eosalind,  Celia,  and  Corin,  behind 

Phe.   I  would  not  be  thy  executioner  : 
I  fly  thee,  for  I  would  not  injure  thee. 
Thou  tell'st  me  there  is  murder  in  mine  eye :  lo 

'Tis  pretty,  sure,  and  very  probable, 
That  eyes,  that  are  the  fraiPst  and  softest  things, 
Who  shut  their  coward  gates  on  atomies,° 
Should  be  called  tyrants,  butchers,  murderers  ! 
Now  I  do  frown  on  thee  with  all  my  heart ; 
And  if  mine  eyes  can  wound,  now  let  them  kill  thee : 
Now  counterfeit  to  swoon ;  why  now  fall  down ; 
Or  if  thou  canst  not,  0,  for  shame,  for  shame. 
Lie  not,  to  say  mine  eyes  are  murderers  ! 
Now  show  the  wound  mine  eye  hath  made  in  thee  :    20 
Scratch  thee  but  with  a  pin,  and  there  remains 
Some  scar  of  it ;  lean  but  upon  a  rush, 
The  cicatrice  and  capable  impressure 
Thy  palm  some  moment  keeps ;  but  now  mine  eyes, 
Which  I  have  darted  at  thee,  hurt  thee  not, 
]S"or,°  I  am  sure,  there  is  no  force  in  eyes 
That  can  do  hurt.° 


Act  III.  Sc.  v.]  AS   YOU  LIKE  IT  7J> 

Sil.  0  dear  Phebe, 

If  ever,  —  as  that  ever  may  be  near,  — 
You  meet  in  some  fresh  cheek  the  power  of  fancy, 
Then  shall  you  know  the  wounds  invisible  30 

That  love's  keen  arrows  make. 

Phe.  But  till  that  time 

Come  not  thou  near  me:  and  when  that  time  comes, 
Afflict  me  with  thy  mocks,  pity  me  not; 
As  till  that  time  I  shall  not  pity  thee. 

Hos.    And  why,  I  pray  you  ?     Who  might  be  your 
mother, 
That  you  insult,  exult,  and  all  at  once. 
Over    the   wretched?      What    though   you  have  no 

beauty,  — ° 
As,  by  my  faith,  T  see  no  more  in  you 
Than  without  candle  may  go  dark  to  bed,  — 
Must  you  be  therefore  proud  and  pitiless  ?  40 

Why,  what  means  this  ?     Why  do  you  look  on  me  ? 
I  see  no  more  in  you  than  in  the  ordinary 
Of  nature's  sale-work.°     'Od's  my  little  life, 
I  think  she  means  to  tangle  my  eyes  too ! 
No,  faith,  proud  mistress,  hope  not  after  it : 
'Tis  not  your  inky  brows,  your  black  silk  hair, 
Your  bugle  eyeballs,  nor  your  cheek  of  cream,° 
That  can  entame  my  spirits  to  your  worship. 


80  AS  TOU  LIKE  IT         [Act  III.  Sc.  v. 

You  foolisli  shepherd,  wherefore  do  you  follow  her, 

Like  foggy  south, °  pufiing  with  wind  and  rain  ?  50 

You  are  a  thousand  times  a  properer  man 

Than  she  a  woman :  'tis  such  fools  as  you 

That  makes  the  world  full  of  ill-favored  children: 

'Tis  not  her  glass,  but  you,  that  flatters  her ; 

And  out  of  you  she  sees  herself  more  proper 

Than  any  of  her  lineaments  can  show  her. 

But,  mistress,  know  yourself :  down  on  your  knees, 

And  thank  heaven,  fasting,  for  a  good  man's  love : 

For  I  must  tell  you  friendly  in  your  ear, 

Sell  when  you  can  :  you  are  not  for  all  markets :        60 

Cry  the  man  mercy ;  love  him  ;  take  his  offer : 

Foul  is  most  foul,°  being  foul  to  be  a  scoffer. 

So  take  her  to  thee,  shepherd :  fare  you  well. 

Fhe.  Sweet  youth,  I  pray  you,  chide  a  year  together : 
I  had  rather  hear  you  chide  than  this  man  woo. 

Bos.  He's  fallen  in  love  with  your  foulness  and 
she'll  fall  in  love  with  my  anger.  If  it  be  so,  as  fast 
as  she  answers  thee  with  frowning  looks,  I'll  sauce  her 
with  bitter  words.     Why  look  you  so  upon  me  ?         70 

Phe.   For  no  ill  will  I  bear  you. 

Hos.   1  pray  you  do  not  fall  in  love  with  me, 
For  I  am  falser  than  vows  made  in  wine : 
Besides,  I  like  you  not.     If  you  will  know  my  house, 


Act  III.  Sc.  v.]  AS   YOU  LIKE  IT  81 

'Tis  at  the  tuft  of  olives°  here  hard  by. 
Will  you  go,  sister  ?     Shepherd,  ply  her  hard. 
Come,  sister.     Shepherdess,  look  on  him  better. 
And  be  not  proud :  though  all  the  world  could  see, 
Kone  could  be  so  abused  in  sight  as  he.  80 

Come,  to  our  flock. 

\_Exeunt  Rosalind,  Celia,  and  Corin. 
/Phe.   Dead  shepherd,"  now  I  find  thy  saw  of  might, 
'(Who  ever  loved  that  loved  not  at  first  sight  ?^° 

Sil.    Sweet  Phebe,  — 

Phe,  Ha,  what  say'st  thou,  Silvius  ? 

Sil.   Sweet  Phebe,  pity  me. 

Phe.   Why,  I  am  sorry  for  thee,  gentle  Silvius. 

Sil.   Wherever  sorrow  is,  relief  would  be :° 
If  you  do  sorrow  at  my  grief  in  love. 
By  giving  love  your  sorrow  and  my  grief 
Were  both  extermined. 

Phe.   Thou  hast  my  love :  °  is  not  that  neighborly  ?   90 

Sil.    I  would  have  you. 

Phe.  Why,  that  were  covetousness. 

Silvius,  the  time  was  that  I  hated  thee, 
And  yet  it  is  not  that  I  bear  thee  love ; 
But  since  that  thou  canst  talk  of  love  so  well. 
Thy  company,  which  erst  was  irksome  to  me, 
I  will  endure,  and  I'll  employ  thee  too : 

G 


82  AS   YOU  LIKE  IT  [Act  IU.  Sc.  v. 

But  do  not  look  for  further  recompense 

Than  thine  own  gladness  that  thou  art  employed. 

SU.    So  holy  and  so  perfect  is  my  love, 
And  I  in  such  a  poverty  of  grace,  loo 

That  I  shall  think  it  a  most  plenteous  crop 
To  glean  the  broken  ears  after  the  man 
That  the  main  harvest  reaps :  loose  now  and  then 
A  scattered  smile,  and  that  I'll  live  upon. 

Phe.    Know'st  thou  the  youth  that  spoke  to  me  ere- 
while  ? 

SiL   Not  very  well,  but  I  have  met  him  oft ; 
And  he  hath  bought  the  cottage  and  the  bounds 
That  the  old  carlot  once  was  master  of. 

Phe.   Think  not  I  love  him,  though  I  ask  for  him ; 
'Tis  but  a  peevish  boy  ;  yet  he  talks  well ;  no 

But  what  care  I  for  words  ?  yet  words  do  well 
When  he  that  speaks  them  pleases  those  that  hear. 
It  is  a  pretty  youth  :  °  not  very  pretty  : 
But,  sure,  he's  proud,  and  yet  his  pride  becomes  him : 
He'll  make  a  proper  man :  the  best  thing  in  him 
Is  his  complexion ;  and  faster  than  his  tongue 
Did  make  offence  his  eye  did  heal  it  up. 
He  is  not  very  tall ;°  yet  for  his  years  he's  tall : 
His  leg  is  but  so  so ;  and  yet  'tis  well : 
There  was  a  pretty  redness  in  his  lip,  120 


Act  III.  Sc.  v.]  AS  tOV  LIKE  IT  83 

A  little  riper  and  more  lusty  red 

Than  that  mixed  in  his  cheek;  'twas  just  the  difference 

Betwixt  the  constant  red  and  mingled  damask. 

There  be  some  women,  Silvius,  had  they  marked  him 

In  parcels°  as  I  did,  would  have  gone  near 

To  fall  in  love  with  him :  but,  for  my  part, 

I  love  him  not  nor  hate  him  not ;  and  yet 

I  have  more  cause  to  hate  him  than  to  love  him : 

For  what  had  he  to  do  to  chide  at  me  ? 

He  said  mine  eyes  were  black  and  my  hair  black  ;    130 

And,  now  I  am  remembered,  scorned  at  me : 

I  marvel  why  I  answered  not  again  : 

But  that's  all  one ;  omittance  is  no  quittance.® 

I'll  write  to  him  a  very  taunting  letter. 

And  thou  shalt  bear  it :  wilt  thou,  Silvius  ? 

Sil.  Phebe,  with  all  my  heart. 

Phe.  I'll  write  it  straight  ; 

The  matter's  in  my  head  and  in  my  heart : 
I  will  be  bitter  with  him  and  passing  short. 
Go  with  me,  SUvius.  lExeunt 


84  AS   YOU  LIKE  IT     .      [Act  IV.  Sc.  i. 

ACT  IV 

Scene  I.     Tlie  forest 
Enter  Rosalind,  Celia,  and  Jaques 

Jaq.  I  prithee,  pretty  youth,°  let  me  be  better  ac- 
quainted with  thee. 

Ros.  They  say  you  are  a  melancholy"  fellow. 

Jaq.  I  am  so  5  I  do  love  it  better  than  laughing. 

Ros.  Those  that  are  in  extremity  of  either  are 
abominable  fellows,  and  betray  themselves  to  every 
modern  censure°  worse  than  drunkards. 

Jaq.  Why,  'tis  good  to  be  sad  and  say  nothing. 

Ros.  Why  then,  'tis  good  to  be  a  post. 

Jaq.  I  have  neither"  the  scholar's  melancholy,  lo 
which  is  emulation ;  nor  the  musician's,  which  is  fan- 
tastical ;  nor  the  courtier's,  which  is  proud ;  nor  the 
soldier's,  which  is  ambitious ;  nor  the  lawyer's,  which 
is  politic ;  nor  the  lady's,  which  is  nice ;  °  nor  the 
lover's,  which  is  all  these :  but  it  is  a  melancholy  of 
mine  own,  compounded  of  many  simples,  extracted 
from  many  objects;  and  indeed  the  sundry  contem- 
plation of  my  travels,  in  which  my  often  rumination 
wraps  me  in  a  most  humorous  sadness.  20 


Act  IV.  Sc.  i.]  AS   YOU  LIKE  IT  85 

Ros.  A  traveller  !  By  my  faith,  you  have  great 
reason  to  be  sad  :  I  fear  you  have  sold  your  own 
lands°  to  see  other  men's ;  then,  to  have  seen  much, 
and  to  have  nothing,  is  to  have  rich  eyes  and  poor 
hands. 

Jaq.  Yes,  I  have  gained  my  experience. 

Hos.  And  your  experience  makes  you  sad :  I  had 
rather°  have  a  fool  to  make  me  merry  than  experience 
to  make  me  sad ;  and  to  travel  for  it  too  ! 

Enter  Orlando 

Orl  Good-day  and  happiness,  dear  Eosalind !         30 

Jaq.  Nay,  then,  God  buy  you,°  an°  you  talk  in  blank 
verse.  °  [Exit. 

Bos.  Farewell,  Monsieur  Traveller:  look  you  lisp 
and  wear  strange  suits;  disable  all  the  benefits  of 
your  own  country ;  be  out  of  love  with  your  nativity 
and  almost  chide  God  for  making  you  that  counte- 
nance you  are ;  or  I  will  scarce  think  you  have  swam  in 
a  gondola.  Why,  how  now,  Orlando  !  where  have  you 
been  all  this  w^hile  ?  °  You  a  lover  !  An  you  serve  40 
me  such  another  trick,  never  come  in  my  sight  more. 

Orl  My  fair  Rosalind,  I  come  within  an  hour  of 
my  promise. 

Eos.    Break  an  hour's  promise  in  love !    He  that  will 


86  AS  TOU  LIKE  IT  [Act  IV.  Sc.  L 

divide  a  minute  into  a  thousand  parts,  and  break  but 
a  part  of  the  thousandth  part  of  a  minute  in  the  affairs 
of  love,  it  may  be  said  of  him  that  Cupid  hath  clapped 
him  o'  the  shoulder,°  but  I'll  warrant  him  heart-whole. 

Orl.  Pardon  me,  dear  Rosalind.  50 

Bos.  Nay,  an  you  be  so  tardy,  come  no  more  in  my 
sight :  I  had  as  lief  be  wooed  of  a  snail. 

Orl  Of  a  snail  ? 

Ros.  Ay,  of  a  snail ;  for  though  he  comes  slowly, 
he  carries  his  house  on  his  head  ;  a  better  jointure, 
I  think,  than  you  make  a  woman.  And  I  am  your 
Eosalind. 

CeL  It  pleases  him  to  call  you  so ;  but  he  hath  a 
Eosalind  of  a  better  leer°  than  you. 

Bos.  Come,  woo  me,  woo  me ;  for  now  I  am  in  a 
holiday  humor  and  like  enough  to  consent.  What 
would  you  say  to  me  now,  an  I  were  your  very  70 
very  Rosalind  ? 

Orl.   1  would  kiss  before  I  spoke. 

Bos.  Xay,  you  were  better  speak  first;  and  when 
you  were  gravelled  for  lack  of  matter,  you  might  take 
occasion  to  kiss.  Very  good  orators,  when  they  are 
out,  they  will  spit ;  and  for  lovers  lacking  —  God  warn 
us  I  —  matter,  the  cleanliest  shift  is  to  kiss. 

Orl.   How  if  the  kiss  be  denied  ? 


Act  IV.  Sc.  i.]  AS   YOU  LIKE  IT  87 

Ros.  Then  she  puts  you  to  entreaty  and  there  80 
begins  new  matter.°     Am  not  I  your  Rosalind  ? 

Oii.  I  take  some  joy  to  say  you  are,  because  I  90 
would  be  talking  of  her. 

Ros.   Well,  in  her  person,  I  say  I  will  not  have  you. 

Orl.    Then  in  mine  own  person  I  die. 

Ros.  No,  faith,  die  by  attorney.  The  poor  world  is 
almost  six  thousand  years  old,  and  in  all  this  time 
there  was  not  any  man  died  in  his  own  person,  vide- 
licet, in  a  love-cause.  Troilus°  had  his  brains  dashed 
out  with  a  Grecian  club ;  yet  he  did  what  he  could  to 
die  before,  and  he  is  one  of  the  patterns  of  love. 
Leander,  he°  would  have  lived  many  a  fair  year,  100 
though  Hero  had  turned  nun,  if  it  had  not  been  for  a 
hot  midsummer  night ;  for,  good  youth,  he  went  but 
forth  to  wash  him  in  the  Hellespont  and  being  taken 
with  the  cramp  was  drowned :  aud  the  foolish  chroni- 
clers of  that  age  found  it  was  '  Hero  of  Sestos.'  But 
these  are  all  lies :  men  have  died  from  time  to  time 
and  worms  have  eaten  them,  but  not  for  love. 

OrL  I  would  not  have  ray  right  Eosalind  of  this 
mind ;  for,  I  protest,  her  frown  might  kill  me.  no 

Ros,  By  this  hand,  it  will  not  kill  a  fly.°  But  come, 
now  I  will  be  your  Rosalind  in  a  more  coming-on  dis- 
position, and  ask  me  what  you  will,  I  will  grant  it. 


88  AS   YOU  LIKE  IT  [Act  IV.  Sc.  i. 

Oi'l.    Then  love  me,  Rosalind. 

Bos.  Yes,  faith,  will  I,  Fridays  and  Saturdays  and 
all. 

Orl.   And  wilt  thou  have  me  ? 

Bos.   Aj°  and  twenty  such. 

Orl    What  say  est  thou  ?  120 

Bos.   Are  you  not  good  ? 

Orl.   I  hope  so. 

Bos.  Why  then,  can  one  desire  too  much  of  a  good 
thing  ?°  Come,  sister,  you  shall  be  the  priest°  and 
marry  us.  Give  me  your  hand,  Orlando.  What  do 
you  say,  sister  ? 

OrZ.    Pray  thee,  marry  us. 

Cel.   I  cannot  say  the  words. 

Bos.   You  must  begin,  '  Will  you,  Orlando  — ' 

Cel.  Go  to.°  Will  you,  Orlando,  have  to  wife  130 
this  Rosalind  ? 

Orl    I  will. 

Bos.    Ay,  but  when  ? 

Orl    Why  now ;  as  fast  as  she  can  marry  us. 

Bos.  Then  you  must  say  '  I  take  thee,  Rosalind,  for 
wife.' 

Orl.    I  take  thee,  Rosalind,  for  wife. 

Bos.  I  might  ask  you  for  your  commission ;  °  but  I 
do  take  thee,  Orlando,  for  my  husband :  there's  a  girl 


Act  IV.  Sc.  i.]  AS   YOU  LIKE  IT  89 

goes  before  the  priest ;  and  certainly  a  woman's  140 
thought  ruDs  before  her  actions. 

Orl    So  do  all  thoughts ;  they  are  winged. 

Bos.  Kow  tell  me  how  long  you  would  have  her 
after  you  have  possessed  her. 

Orl.    Eor  ever  and  a  day. 

Eos.  Say  'a  day/  without  the  *ever.'  Ko,  no, 
Orlando;  men  are  April  when  they  woo,  December 
when  they  wed :  maids  are  May  when  they  are  maids, 
but  the  sky  changes  when  they  are  ^ives.  I  will  150 
be  more  jealous  of  thee  than  a  Barbary  cock-pigeon 
over  his  hen,  more  clamorous  than  a  parrot  against 
rain,  more  new-fangled  than  an  ape,  more  giddy  in  my 
desires  than  a  monkey  :  I  will  weep  for  nothing,  like 
Diana  in  the  fountain,"  and  I  will  do  that  when  you 
are  disposed  to  be  merry;  I  will  laugh  like  a  hyen, 
and  that  when  thou  art  inclined  to  sleep. 

Orl    But  will  my  Kosalind  do  so  ? 

Bos.   By  my  life,  she  will  do  as  I  do. 

Orl.   0,  but  she  is  wise.  160 

Bos.  Or  else  she  could  not  have  the  wit  to  do  this  : 
the  wiser,  the  way  warder:  make  the  doors  upon  a 
woman's  wit  and  it  will  out  at  the  casement;  shut 
that  and  'twill  out  at  the  key-hole ;  stop  that,  'twill 
fly  with  the  smoke  out  at  the  chimney. 


90  AS   YOU  LIKE  IT  [Act  IV.  Sc.  i. 

Orl.  A  man  that  had  a  wife  with  such  a  wit,  he 
might  say  '  Wit,  whither  wilt  ? ' 

Ros.  Nay,  you  might  keep  that  check  for  it  till  you 
met  your  wife's  wit  going  to  your  neighbor's  bed.     170 

Orl    And  what  wit  could  wit  have  to  excuse  that. 

Ros.  Marry,  to  say  she  came  to  seek  you  there. 
You  shall  never  take  her  without  her  answer,  unless 
you  take  her  without  her  tongue.  0,  that  woman  that 
cannot  make  her  fault  her  husband's  occasion,  let  her 
never  nurse  her  child  herself,  for  she  will  breed  it  like 
a  fool ! 

Orl.  For  these  two  hours,"  Eosalind,  I  will  leave  180 
thee. 

Ros.   Alas,  dear  love,  I  cannot  lack  thee  two  hours  ! 

Orl.  I  must  attend  the  Duke  at  dinner:  by  two 
o'clock  I  will  be  with  thee  again. 

Ros.  Ay,  go  your  ways,  go  your  ways;  I  knew 
what  you  would  prove :  my  friends  told  me  as  much, 
and  I  thought  no  less :  that  flattering  tongue  of  yours 
won  me :  'tis  but  one  cast  away,  and  so,  come,  death ! 
Two  o'clock  is  your  hour  ?  190 

Orl.   Ay,  sweet  Eosalind. 

Ros.  By  my  troth,  and  in  good  earnest,  and  so  God 
mend  me,  and  by  all  pretty  oaths  that  are  not  dan- 
gerous, if  you  break  one  jot  of  your  promise  or  come 


Act  IV.  Sc.  i.]  AS   YOU  LIKE  IT  91 

one  minute  behind  your  hour,  I  will  think  yoi:  the 
most  pathetical  break-promise,  and  the  most  hollow 
lover,  and  the  most  unworthy  of  her  you  call  Eosa- 
lind,  that  may  be  chosen  out  of  the  gross  band  of  the 
unfaithful :  therefore  beware  my  censure  and  keep 
your  promise.  200 

Orl  With  no  less  religion  than  if  thou  wert  indeed 
my  Eosalind :  so  adieu. 

Ros.  Well,  Time  is  the  old  justice  that  examines 
all  such  offenders,  and  let  Time  try :  adieu. 

[Exit  Orlando. 

Cel.  You  have  simply  misused  our  sex°  in  your 
love-prate:  we  must  have  your  doublet  and  hose 
plucked  over  your  head,  and  show  the  world  what  the 
bird  hath  done  to  her  own  nest. 

Ros.  0  coz,  coz,  coz,  my  pretty  little  coz,  that  thou 
didst  know  how  many  fathom°  deep  I  am  in  love !  210 
But  it  cannot  be  sounded :  my  affection  hath  an  un- 
known bottom,  like  the  bay  of  Portugal.^ 

Cel  Or  rather,  bottomless  ;  that  as  fast  as  you  pour 
affection  in,  it  runs  out. 

Ros.  No,  that  same  wicked  bastard  of  Venus  that 
was  begot  of  thought,  conceived  of  spleen,  and  born 
of  madness,  that  blind  rascally  boy°  that  abuses  every 
one's  eyes   because   his  own  are   out,  let  him  be  220 


92  AS   YOU  LIKE  IT  [Act  IV.  Sc.  ii. 

judge  how  deep  I  am  in  love.     I'll  tell  thee,  Aliena,    * 
I  cannot  be  out  of  the  sight  of  Orlando :  I'll  go  find  a 
shadow  and  sigh  till  he  come. 

Cel.   And  I'll  sleep.°  [ExeunU 

Scene  II.    The  forest 
Enter  Jaqxjes,  Lords,  and  Foresters 

Jaq.   Which  is  he  that  killed  the  deer  ?  ° 

A  Lord.    Sir,  it  was  I. 

Jaq.  Let's  present  him  to  the  Duke,  like  a  Roman 
conqueror ;  and  it  would  do  well  to  set  the  deer's  horns 
upon  his  head,  for  a  branch  of  victory.  Have  you  no 
song,  forester,  for  this  purpose  ? 

For.    Yes,  sir. 

Jaq.  Sing  it :  'tis  no  matter  how  it  be  in  tune,  so 
it  make  noise  enough.  lo 

Song 

For.     What  shall  he  have  that  killed  the  deer  ? 
His  leather  skin  and  horns  to  wear. 
Then  sing  him  home  : 

[_The  rest  shall  hear  this  burden.^ 
Take  thou  no  scorn  to  wear  the  horn ; 
It  was  a  crest  ere  thou  wast  born : 


Act  IV.  Sc.  iii.]  AS  YOU  LIKE  IT  93 

Thy  father's  father  wore  it, 

And  thy  father  bore  it : 
The  horn,  the  horn,  the  lusty  horn 
Is  not  a  thing  to  laugh  to  scorn.  \_Exeunt. 

Scene  III.    The  forest 
Enter  Eosalixd  and  Celia 

Ros.  How  say  you  now  ?  Is  it  not  past  two 
o'clock  ?  and  here  much  Orlando  !° 

Cel.  I  warrant  you,  with  pure  love  and  troubled 
brain,  he  hath  ta'en  his  bow  and  arrows  and  is  gone 
forth  to  sleep.     Look,  who  comes  here. 

Enter  Silvius 

Sil.   My  errand  is  to  you,  fair  youth  ;** 
My  gentle  Phebe  bid  me  give  you  this. 
I  know  not  the  contents ;  but,  as  I  guess 
By  the  stern  brow  and  waspish  action 
Which  she  did  use  as  she  was  writing  of  it,  10 

It  bears  an  angry  tenor :  pardon  me  ; 
I  am  but  as  a  guiltless  messenger. 

Ros.   Patience  herself  would  startle  at  this  letter 
And  play  the  swaggerer ;  bear  this,°  bear  all : 
She  says  I  am  not  fair,  that  I  lack  manners ; 


94  AS   YOU  LIKE  IT         [Act  IV.  Sc.  iiu 

She  calls  me  proud,  and  that  she  could°  not  love  me, 
Were  men  as  rare  as  phoenix.°     'Od's  my  will ! 
Her  love  is  not  the  hare  that  I  do  hunt : 
Why  writes  she  so  to  me  ?     Well,  shepherd,  well, 
This  is  a  letter  of  your  own  device.  20 

Sil.   No,  I  protest,  I  know  not  the  contents. 
Phebe  did  write  it. 

Jios.  Come,  come,  you  are  a  fool, 

And  turned  into  the  extremity  of  love. 
I  saw  her  hand :  she  has  a  leather  hand, 
A  freestone-colored  hand ;  I  verily  did  think 
That  her  old  gloves  were  on,  but  'twas  her  hands : 
She  has  a  huswife's  hand ;  but  that's  no  matter : 
I  say  she  never  did  invent  this  letter ; 
This  is  a  man's  invention  and  his  hand. 

Sil.    Sure,  it  is  hers.  30 

Ros.   Why,  'tis  a  boisterous  and  a  cruel  style, 
A  style  for  challengers  ;  why,  she  defies  me, 
Like  Turk  to  Christian  :  woman's  gentle  brain 
Could  not  drop  forth  such  giant-rude  invention, 
Such  Ethiope  words,  blacker  in  their  effect 
Than  in  their  countenance.     Will  you  hear  the  letter  ? 

Sil    So  please  you,  for  I  never  heard  it  yet; 
Yet  heard  too  much  of  Phebe's  cruelty. 

Bos.    She  Phebes  me :  mark  how  the  tyrant  writes. 


Act  IV.  Sc.  iii.]  AS   YOU  LIKE  IT  95 


40 


[  Beads  ]     Art  thou  god  to  shepherd  turned, 

That  a  maiden's  heart  hath  burned  ? 

Can  a  woman  rail  thus  ? 
Sil.   Call  you  this  railing  ? 
Bos.     I  Beads  2 

Why,  thy  godhead  laid  apart, 
Warr'st  thou  with  a  woman's  heart  ? 

Did  you  ever  hear  such  railing  ? 

Whiles  the  eye  of  man  did  woo  me, 
That  could  do  no  vengeance°  to  me. 

Meaning  me  a  beast.° 

If  the  scorn  of  your  bright  eyne°  50 

Have  power  to  raise  such  love  in  mine, 

Alack,  in  me  what  strange  effect 

Would  they  work  in  mild  aspect !  ° 

Whiles  you  chid  me,  I  did  love ; 

How  then  might  your  prayers  move ! 

He  that  brings  this  love  to  thee 

Little  knows  this  love  in  me  : 

And  by  him  seal  up°  thy  mind  ; 

Whether  that  thy  youth  and  kind 

Will  the  faithful  offer  take  60 

Of  me  and  all  that  I  can  make ; 

Or  else  by  him  my  love  deny, 

And  then  I'll  study  how  to  die. 


96  AS  YOU  LIKE  IT         [Act  IV.  Sc.  iii, 

Sil.    Call  you  this  chiding  ? 

Oel   Alas,  poor  shepherd  ! 

Eos.  Do  you  pity  him  ?  no,  he  deserves  no  pity. 
Wilt  thou  love  such  a  woman  ?  What,  to  make  thee  an 
instrument  and  play  false  strains  upon  thee !  not  to 
be  endured !  Well,  go  your  way  to  her,  for  I  see  love 
hath  made  thee  a  tame  snake,  and  say  this  to  her  :  70 
that  if  she  love  me,  I  charge  her  to  love  thee ;  if  she 
will  not,  I  will  never  have  her  unless  thou  entreat  for 
her.  If  you  be  a  true  lover,  hence,  and  not  a  word ;  for 
here  comes  more  company.  [^Exit  Silvius. 

Enter  Oliver 

Oil.    Good  morrow,  fair  ones :  pray  you,  if  you  know, 
Where  in  the  purlieus  of  this  forest  stands 
A  sheep-cote  fenced  about  with  olive-trees  ?  ** 

Cel.   West   of  this   place,   down   in   the   neighbor 
bottom : 
The  rank  of  osiers  by  the  murmuring  stream  80 

Left  on  your  right  hand  brings  you  to  the  place. 
But  at  this  hour  the  house  doth  keep  itself ; 
There's  none  within. 

OU.   If  that  an  eye  may  profit  by  a  tongue, 
Then  should  I  know  you  by  description ; 
Such  garments  and  such  years :  '  The  boy  is  fair, 


Act  IV.  Sc.  iii.]  AS   YOU  LIKE  IT  97 

Of  female  favor,  and  bestows  himself 

Like  a  ripe  sister :  °  the  woman  low, 

And  browner°  than  her  brother.'     Are  not  you 

The  owner  of  the  house  I  did  inquire  for  ?  90 

CeL   It  is  no  boast,  being  asked,  to  say  we  are. 

on.   Orlando  doth  commend  him  to  you  both, 
And  to  that  youth  he  calls  his  Rosalind 
He  sends  this  bloody  napkin.     Are  you  he  ? 

Hos.    I  am  :  what  must  we  understand  by  this  ? 

on.    Some  of  my  shame ;  if  you  will  know  of  me 
What  man  I  am,  and  how,  and  why,  and  where 
This  handkercher  was  stained. 

Cel.  I  pray  you,  tell  it. 

on.   When  last  the  young  Orlando  parted  from  you 
He  left  a  promise  to  return  again  100 

Within  an  hour,°  and  pacing  through  the  forest. 
Chewing  the  food  of  sweet  and  bitter  fancy, 
Lo,  what  befell !  he  threw  his  eye  aside. 
And  mark  what  object  did  present  itself: 
Under  an  oak,°  whose  boughs  were  mossed  with  age 
And  high  top  bald  with  dry  antiquity, 
A  wretched  ragged  man,  o'ergrown  with  hair, 
Lay  sleeping  on  his  back :  about  his  neck 
A  green  and  gilded  snake  had  wreathed  itself, 
Who  with  her  head  nimble  in  threats  approached     na 


98  AS  YOU  LIKE  IT         [Act  IV.  Sc.  iii 

The  opening  of  his  mouth  ;  but  suddenly, 

Seeing  Orlando,  it°  unlinked  itself, 

And  with  indented  glides  did  slip  away 

Into  a  bush :  under  which  bush's  shade 

A  lioness,°  with  udders  all  drawn  dry, 

Lay  crouching,  head  on  ground,  with  catlike  watch, 

When  that°  the  sleeping  man  should  stir ;  for  'tis 

The  royal  disposition  of  that  beast 

To  prey  on  nothing  that  doth  seem  as  dead : 

This  seen,  Orlando  did  approach  the  man  120 

And  found  it  was  his  brother,  his  elder  brother. 

Cel.   0,  I  have  heard  him  speak  of  that  same 
brother ; 
And  he  did  render  him  the  most  unnatural 
That  lived  amongst  men. 

OIL  And  well  he  might  so  do, 

For  well  I  know  he  was  unnatural. 

Bos.   But,  to  Orlando  :  did  he  leave  him  there, 
Food  to  the  sucked  and  hungry  lioness  ? 

Oil.    Twice°  did  he  turn  his  back  and  purposed  so ; 
But  kindness,  nobler  ever  than  revenge, 
And  nature,  stronger  than  his  just  occasion,  130 

Made  him  give  battle  to  the  lioness. 
Who  quickly  fell  before  him  :  in  which  hurtling 
From  miserable  slumber  I  awaked. 


Act  IV.  Sc.  iii.]  AS   YOU  LIKE  IT  99 

Cel.  Are  you  his  brother  ? 

^os.  Was't  you  he  rescued  ? 

Cel.   Was't  you  that  did  so  oft  contrive  to  kill 
him? 

OIL    'Twas  I ;  but  'tis  not  I :  I  do  not  shame 
To  tell  you  what  I  was,  since  my  conversion 
So  sweetly  tastes,  being  the  thing  I  am. 

Ros.   But,  for  the  bloody  napkin  ?  ° 

OIL  By  and  by. 

When  from  the  first  to  last  betwixt  us  two  140 

Tears  our  recountments°  had  most  kindly  bathed, 
As  how  I  came  into  that  desert  place,  — 
In  brief,  he  led  me  to  the  gentle  Duke,° 
Who  gave  me  fresh  array  and  entertainment, 
Committing  me  unto  my  brother's  love ; 
Who  led  me  instantly  unto  his  cave,° 
There  stripped  himself,  and  here  upon  his  arm 
The  lioness  had  torn  some  flesh  away. 
Which  all  this  while  had  bled  ;  and  now  he  fainted 
And  cried,  in  fainting,  upon  Kosalind.  15a 

Brief,  I  recovered  him,  bound  up  his  wound ; 
And,  after  some  small  space,  being  strong  at  heart, 
He  sent  me  hither,''  stranger  as  I  am. 
To  tell  this  story,  that  you  might  excuse 
His  broken  promise^  and  to  give  this  napkin," 


100  AS   YOU  LIKE  IT  [Act  IV.  Sc.  iiL 

Dyed  in  his  blood,  unto  the  shepherd  youth 
That  he  in  sport  doth  call  his  Eosalind. 

[EosALiND  swoons. 

Cel.    Why,  how  now,  Ganymede  !  sweet  Ganymede  ! 

OIL    Many  will  swoon  when  they  do  look  on  blood. 

Cel.    There  is  more  in  it.     Cousin  Ganymede  !       i6o 

Oli.    Look,  he  recovers. 

Ros.    I  would  I  were  at  home. 

Cel  We'll  lead  you  thither. 

I  pray  you,  will  you  take  him  by  the  arm  ? 

Oli.  Be  of  good  cheer,  youth  :  you  a  man !  you  lack 
a  man's  heart. 

Ros.  I  do  so,  I  confess  it.  Ah,  sirrah,  a  body  would 
think  this  was  well  counterfeited !  I  pray  you,  tell 
your  brother  how  well  I  counterfeited.     Heigh-ho  !" 

Oli.  This  was  not  counterfeit :  there  is  too  great  170 
testimony  in  your  complexion  that  it  was  a  passion  of 
earnest. 

Ros.   Counterfeit,  I  assure  you, 

Oli.  Well  then,  take  a  good  heart  and  counterfeit  to 
be  a  man. 

Ros.  So  I  do :  but,  i'  faith,  I  should  have  been  a 
woman  by  right. 

Cel.  Come,  you  look  paler  and  paler:  pray  you, 
draw  homewards.     Good  sir,  go  with  us. 


Act  V.  Sc.  i.]  AS   YOU  LIKE  IT  101 

OK   That  will  I,  for  I  must  bear  answer  back       i8o 
How  you  excuse  my  brother,  Rosalind. 

Bos.   I  shall  devise   something:    but,  I  pray  you, 
commend  my  counterf eiting°  to  him.     Will  you  go  ? 

[^Exeunt. 


ACT  Y 

Scene  I.     TJie  forest 
Enter  Touchstone  and  Audrey 

Touch.  We  shall  find  a  time,  Audrey;  patience, 
gentle  Audrey. 

Aud.  Faith,  the  priest  was  good  enough,  for  all  the 
old  gentleman's  saying.° 

Touch.  A  most  wicked  Sir  Oliver,  Audrey,  a  most 
vile  Martext.  But,  Audrey,  there  is  a  youth  here  in 
the  forest  lays  claim  to  you. 

Aud.  Ay,  I  know  who  'tis :  he  hath  no  interest  in 
me  in  the  world :  here  comes  the  man  you  mean.        lo 

Touch.  It  is  meat  and  drink  to  me  to  see  a 
clown  :°  by  my  troth,  we  that  have  good  wits  have 
much  to  answer  for ;  we  shall  be  flouting  •°  we  cannot 
hold. 


102  AS   YOU  LIKE  IT  [Act  V.  Sc.  i. 

Enter  William 

Will.    Good  even,  Audrey. 

Aud.   God  ye  good  even,  William. 

Will   And  good  even  to  you,  sir. 

Touch.  Good  even,  gentle  friend.  Cover  thy  head, 
cover  thy  head;  nay,  prithee,  be  covered.  How  old 
are  you,  friend  ?  20 

Will.    Five  and  twenty,  sir. 

Touch.    A  ripe  age.     Is  thy  name  William  ? 

Will.   William,  sir. 

Touch.   A  fair  name.     Wast  born  i'  the  forest  here  ? 

Will.   Ay,  sir,  I  thank  God. 

Touch.    < Thank  God;'  a  good  answer.     Art  rich? 

Will.   Faith,  sir,  so  so.° 

Touch.  'So  so '  is  good,  very  good,  very  excellent 
good ;  and  yet  it  is  not ;  it  is  but  so  so.    Art  thou  wise  ?  30 

Will.   Ay,  sir,  I  have  a  pretty  wit. 

Touch.  Why,  thou  sayest  well.  I  do  now  remember 
a  saying,  '  The  fool  doth  think  he  is  wise,  but  the  wise 
man  knows  himself  to  be  a  fool.'  The  heathen  phi- 
losopher, when  he  had  a  desire  to  eat  a  grape,°  would 
open  his  lips  when  he  put  it  into  his  mouth ;  meaning 
thereby  that  grapes  were  made  to  eat  and  lips  to  open. 
You  do  love  this  maid  ?  40 


Act  V.  Sc.  i.]  AS  YOU  LIKE  IT  103 

Will    I  do,  sir. 

Touch.   Give  me  your  hand.     Art  thou  learned  ? 

Will   No,  sir. 

Touch.  Then  learn  this  of  me :  to  have,  is  to  have ; 
for  it  is  a  figure  in  rhetoric  that  drink,  being  poured 
out  of  a  cup  into  a  glass,  by  filling  the  one  doth  empty 
the  other ;  for  all  your  writers  do  consent  that  ipse  is 
he :  now,  you  are  not  ipse,  for  I  am  he. 

Will   Which  he,  sir  ?  50 

Touch.  He,  sir,  that  must  marry  this  woman. 
Therefore,  you  clown,  abandon,  —  which  is  in  the 
vulgar  leave,  —  the  society,  —  which  in  the  boorish  is 
company,  —  of  this  f emale,°  —  which  in  the  common 
is  woman;  which  together  is,  abandon  the  society  of 
this  female,  or,  clown,  thou  perishest;  or,  to  thy  better 
understanding,  diest ;  or,  to  wit,  I  kill  thee,  make  thee 
away,  translate  thy  life  into  death,  thy  liberty  into 
bondage:  I  will  deal  in  poison  with  thee,  or  in  60 
bastinado,  or  in  steel ;  I  will  bandy  with  thee  in 
faction;  I  will  o'er-run  thee  with  policy;  I  will  kill 
thee  a  hundred  and  fifty  ways :  therefore  tremble,  and 
depart. 

Aud.   Do,  good  William. 

Will   God  rest  you  merry,°  sir.  l^-^it. 


104  AS  YOU  LIKE  IT  [Act  V.  Sc.  ii. 

Enter  Corin 

Cor.  Our  master  and  mistress  seeks®  you;  come, 
away,  away ! 

Touch.  Trip,  Audrey!  trip,  Audrey  I  I  attend,  I 
attend.  [^ExeunU 

Scene  II.     The  forest 
Enter  Orlando  and  Oliver 

Orl.  Is't  possible  that  on  so  little  acquaintance** 
you  should  like  her  ?  that  but  seeing  you  should  love 
her  ?  and  loving  woo  ?  and,  wooing,  she  should  grant  ? 
and  will  you  persever  to  enjoy  her  ? 

Oli.  Neither  call  the  giddiness  of  it®  in  question, 
the  poverty  of  her,  the  small  acquaintance,  my  sud- 
den wooing,  nor  her  sudden  consenting ;  but  say  with 
me,  I  love  Aliena;  say  with  her  that  she  loves 
me;  consent  with  both  that  we  may  enjoy  each  lo 
other:  it  shall  be  to  your  good:  for  my  father's  house® 
and  all  the  revenue  that  was  old  Sir  Rowland's  will  I 
estate  upon  you,  and  here  live  and  die  a  shepherd. 

Orl.  You  have  my  consent.  Let  your  wedding  be 
to-morrow :  thither  will  I  invite  the  Duke  and  all 's 
contented®  followers.  Go  you  and  prepare  Aliena; 
for  look  you,  here  comes  my  Rosalind. 


Act  V.  Sc.  ii.]  AS  YOU  LIKE  IT  105 

Enter  Kosalind 

Bos.    God  save  you,  brother.^  ^ 

OIL   And  you,  fair  sister.  [Exit. 

Ros.  0,  my  dear  Orlando,  how  it  grieves  me  to  see 
thee  wear  thy  heart  in  a  scarf ! 

Orl.    It  is  my  arm. 

Ros.  I  thought  thy  heart  .had  been  wounded  with 
the  claws  of  a  lion. 

Orl.   Wounded  it  is,  but  with  the  eyes  of  a  lady. 

Ros.  Did  your  brother  tell  you  how  I  counter- 
feited to  swoon  when  he  showed  me  your  handker- 
cher  ?  30 

Orl,   Ay,  and  greater  wonders  than  that. 

Ros.  O,  I  know  where  you  are:  nay,  'tis  true: 
there  was  never  any  thing  so  sudden  but  the  fight 
of  two  rams,  and  Caesar's  thrasonical  brag°  of  '  I  came, 
saw,  and  overcame : '  for  your  brother  and  my  sister 
no  sooner  met  but  they  looked ;  no  sooner  looked  but 
they  loved;  no  sooner  loved  but  they  sighed;  no 
sooner  sighed  but  they  asked  one  another  the  reason ; 
no  sooner  knew  the  reason  but  they  sought  the  40 
remedy:  and  in  these  degrees  have  they  made  a  pair 
of  stairs  to  marriage  which  they  will  climb  inconti- 
nent, or  else  be  incontinent  before  marriage :  they  are 


106  AS   YOU  LIKE  IT  [Act  V.  Sc.  iL 

in  the  very  wrath  of  love  and  they  will  together; 
clubs  cannot  part  them. 

Orl.  They  shall  be  married  to-morrow,  and  I  will 
bid  the  Duke  to  the  nuptial.°  But,  0,  how  bitter  a 
thing  it  is  to  look  into  happiness  through  another 
man's  eyes  !  By  so  much  the  more  shall  I  to-morrow 
be  at  the  height  of  heart-heaviness,  by  how  much  50 
I  shall  think  my  brother  happy  in  having  what  he 
wishes  for. 

Ros.  Why,  then,  to-morrow  I  cannot  serve  your  turn 
for  Bosalind  ? 

Orl.    I  can  live  no  longer  by  thinking. 

Ros.  I  will  weary  you  then  no  longer  with  idle 
talking.  Know  of  me  then,  for  now  I  speak  to  some 
purpose,  that  I  know  you  are  a  gentleman  of  good 
conceit :  I  speak  not  this  that  you  should  bear  a  good 
opinion  of  my  knowledge,  insomuch  I  say  I  know  60 
you  are ;  neither  do  I  labor  for  a  greater  esteem  than 
may  in  some  little  measure  draw  a  belief  from  you,  to 
do  yourself  good  and  not  to  grace  me.  Believe  then, 
if  you  please,  that  I  can  do  strange  things.  I  have, 
since  I  was  three  year  old,  conversed  with  a  magi- 
cian,°  most  profound  in  his  art  and  yet  not  damnable. 
If  you  do  love  Eosalind  so  near  the  heart  as  your 
gesture  cries  it  out,  when  your  brother  marries  Aliena, 


Act  V.  Sc.  li.]  AS  YOU  LIKE  IT  107 

shall  you  marry  her:  I  know  into  what  straits  of  70 
fortune  she  is  driven ;  and  it  is  not  impossible  to  me, 
if  it  appear  not  inconvenient  to  you,  to  set  her  before 
your  eyes  to-morrow,  human  as  she  is,  and  without 
any  danger. 

Orl.    Speakest  thou  in  sober  meanings  ? 

Eos.  By  my  life,  I  do;  which  I  tender  dearly, 
though  I  say  I  am  a  magician.  Therefore,  put  you  in 
your  best  array ;  bid  your  friends ;  for  if  you  will  be 
married  to-morrow,  you  shall ;  and  to  Eosalind,  80 
if  you  will. 

Enter  Silvius  and  Phebe 

Look,  here  comes"  a  lover  of  mine  and  a  lover  of  hers. 

Phe.  Youth,  you  have  done  me  much  ungentleness, 
To  show  the  letter  that  I  writ  to  you. 

Eos.   I  care  not  if  I  have :  it  is  my  study 
To  seem  despiteful  and  ungentle  to  you : 
You  are  there  followed  by  a  faithful  shepherd ; 
Look  upon  him,  love  him ;  he  worships  you. 

Phe.   Good  shepherd,  tell  this  youth  what  'tis  to 
love, 

Sil   It  is  to  be  all  made  of  sighs  and  tears;  qo 

And  so  am  I  for  Phebe. 

Phe.   And  I  for  Ganymede. 


108  AS  YOU  LIKE  IT  [Act  V.  Sc.  ii. 

Orl.    And  I  for  Kosalind.    . 

Ros.    And  I  for  no  woman. 

Sil.   It  is  to  be  all  made  of  faith,  and  service ; 
And  so  am  I  for  Phebe. 

Phe.    And  I  for  Ganymede. 

Orl.   And  I  for  Eosalind. 

Ros.    And  I  for  no  woman. 

Sil.   It  is  to  be  all  made  of  fantasy,**  loo 

All  made  of  passion,  and  all  made  of  wishes ; 
All  adoration,  duty,  and  observance. 
All  humbleness,  all  patience,  and  impatience, 
All  purity,  all  trial,  all  obedience  ; 
And  so  am  I  for  Phebe. 

Phe.   And  so  am  I  for  Ganymede. 

Orl.   And  so  am  I  for  Kosalind. 

Ros.   And  so  am  I  for  no  woman. 

Phe.   If   this   be   so,  why   blame  you  me  to  love 
you?  no 

Sil.    If  this  be  so,  why  blame  you  me  to  love  you  ? 

Orl.   If  this  be  so,  why  blame  you  me  to  love  you  ? 

Ros.   Who  do  you  speak  to,  *  Why  blame  you  me  to 
love  you  ?  ' 

Orl.   To  her  that  is  not  here,  nor  doth  not  hear. 

Ros.   Pray  you,  no  more  of  this  ;  'tis  like  the  howling 
of  Irish  wolves°  against  the  moon.     \_To  Sil.]     I  will 


Act  V.  Sc.  iii.]  AS   YOU  LIKE  IT  109 

help  you,  if  I  can  :  [To  Phe.]  I  would  love  you,  120 
if  I  could.  To-morrow  meet  me  all  together.  [To 
Phe.]  I  will  marry  you,  if  ever  I  marry°  woman, 
and  I'll  be  married  to-morrow :°  [To  Orl.]  I  will 
satisfy  you,  if  ever  I  satisfied  man,  and  you  shall  be 
married  to-morrow :  [To  Sil.]  I  will  content  you,  if 
what  pleases  you  contents  you,  and  you  shall  be 
married  to-morrow.  \_To  Orl.]  As  you  love  Rosalind, 
meet:  [To  Sil.]  as  you  love  Phebe,  meet :  and  as  I 
love  no  woman,  I'll  meet.  So,  fare  you  well :  I  130 
have  left  you  commands. 

Sil   I'll  not  fail,  if  I  live. 

Phe.   Nor  I. 

Orl  Nor  I.  lExeunt. 


ScEXE  III.     The  forest 
Enter  Touchstone  and  Audrey 

Touch.  To-morrow  is  the  joyful  day,  Audrey;  to- 
morrow will  we  be  married. 

Aud.  I  do  desire  it  with  all  my  heart ;  and  I  hope 
it  is  no  dishonest  desire°  to  desire  to  be  a  woman  of 
the  world.  Here  come  two  of  the  banished  Duke's 
pages.° 


110  AS   YOU  LIKE  IT  [Act  V.  Sc.  iii. 

Enter  two  Pages 

First  Page.    Well  met,  honest  gentleman. 

Touch.  By  my  troth,  well  met.  Come,  sit,  sit,  and 
a  song. 

Sec.  Page.   We  are  for  you :  sit  i'  the  middle.  lo 

First  Pa^e.  Shall  we  clax^  into  't  roundly,°  without 
hawking  or  spitting  or  saying  we  are  hoarse,  which 
are  the  only  prologues®  to  a  bad  voice  ? 

Sec.  Page.  V  faith,  i'  faith ;  and  both  in  a  tune,  like 
two  gipsies"  on  a  horse. 

Song 

It  was  a  lover  and  his  lass. 

With  a  hey,  and  a  ho,  and  a  hey  nonino, 
That  o'er  the  green  corn-field  did  pass 

In  spring  time,  the  only  pretty  ring  time,°  20 
When  birds  do  sing,  hey  ding  a  ding,  ding : 
Sweet  lovers  love  the  spring. 

Between  the  acres  of  the  rye. 

With  a  hey,  and  a  ho,  and  a  hey  nonino. 
These  pretty  country  folks  would  lie, 

In  spring  time,  etc. 


Act  V.  Sc.  iv.]  AS   YOU  LIKE  IT  111 

This  carol  they  began  that  hour, 

With  a  hey,  and  a  ho,  and  a  hey  nonino, 

How  that  a  life  was  but  a  flower 

In  spring  time,  etc.  30 

And  therefore  take  the  present  time. 
With  a  hey,  and  a  ho,  and  a  hey  nonino ; 

For  love  is  crowned  with  the  prime° 
In  spring  time,  etc. 

Touch.  Truly,  young  gentlemen,  though  there  was 
no  great  matter°  in  the  ditty,  yet  the  note  was  very 
untuneable. 

First  Page.  You  are  deceived,  sir:  we  kept  time, 
we  lost  not  our  time. 

Touch.  By  my  troth,  yes ;  °  I  count  it  but  time  40 
lost  to  hear  such  a  foolish  song.  God  be  wi'  you ;  and 
God  mend  your  voices  !     Come,  Audrey.  [Exeunt. 

ScEXE  IV.     The  forest 
Enter  Duke  senior,  Amiens,  Jaques,  Orlando, 

Oliver,  and  Celia 
Duke  S.   Dost  thou  believe,  Orlando,  that  the  boy 
Can  do  all  this  that  he  hath  promised  ? 

Orl  I  sometimes  do  believe,  and  sometimes  do  not; 
As  those  that  fear  they  hope,°  and  know  they  fear. 


112  AS  YOU  LIKE  IT  [Act  V.  Sc.  iv. 

Enter  Eosalind,  Silvius,  and  Phebe 

Ros.   Patience  once  more,  -whiles   our  compact^  is 
urged : 
You  say,  if  I  bring  in  your  Rosalind, 
You  will  bestow  her  on  Orlando  here  ? 

Duke  S.   That  would  I,  had   I   kingdoms   to   give 
with  her. 

Ros.    And  you  say,  you  will  have  her,  when  I  bring 
her. 

Orl.   That  would  I,  were  I  of  all  kingdoms  king.    lo 

Ros.    You  say,  you'll  marry  me,  if  I  be  willing  ? 

Phe.   That  will  I,  should  I  die  the  hour  after. 

Ros.   But  if  you  do  refuse  to  marry  me, 
You'll  give  yourself  to  this  most  faithful  shepherd  ? 

Phe.    So  is  the  bargain. 

Ros.   You  say,  that  you'll  have  Phebe,  if  she  will  ? 

Sil.   Though  to  have  her  and  death  were  both  one 
thing. 

Ros.  I  have  promised  to  make  all  this  matter  even.° 
Keep  you  your  word,  0  Duke,  to  give  your  daughter ; 
You  yours,  Orlando,  to  receive  his  daughter  :  20 

Keep  your  word,°  Phebe,  that  you'll  marry  me, 
Or  else  refusing  me,  to  wed°  this  shepherd  : 
Keep  your  word,  Silvius,  that  you'll  marry  her, 


Act  V.  Sc.  iv.]  AS   YOU  LIKE  IT  113 

If  she  refuse  me :  and  from  hence°  I  go, 
To  make  these  doubts  all  even. 

[Exeunt  Rosalind  and  Celia. 

Duke  S.   I  do  remember  in  this  shepherd  boy 
Some  lively®  touches  of  my  daughter's  favor. 

Orl.   My  lord,  the  first  time  that  I  ever  saw  him 
Methought  he  was  a  brother  to  your  daughter : 
But,  my  good  lord,  this  boy  is  forest-born,  30 

And  hath  been  tutored  in  the  rudiments 
Of  many  desperate  studies  by  his  uncle, 
Whom  he  reports  to  be  a  great  magician, 
Obscured  in  the  circle  of  this  forest. 

Enter  Touchstone  and  Audrey 

Jaq.  There  is,  sure,  another  flood  toward,  and  these 
couples  are  coming  to  the  ark.  Here  comes  a  pair 
of  very  strange  beasts,  which  in  all  tongues  are  called 
fools. 

Touch.    Salutation  and  greeting  to  you  all ! 

Jaq.  Good  my  lord,°  bid  him  welcome :  this  is  40 
the  motley-minded  gentleman  that  I  have  so  often  met 
in  the  forest :  he  hath  been  a  courtier,  he  swears. 

Touch.  If  any  man  doubt  that,  let  him  put  me 
to  my  purgation.  I  have  trod  a  measure;  I  have 
flattered  a  lady  ;   I  have  been  politic  with  my  friend, 


114  AS   YOU  LIKE  IT  [Act  V.  Sc.  iv. 

smooth  with  mine  enemy  ;  I  have  undone  three  tailors ; 
I  have  had  fom-  quarrels,  and  like  to  have  fought°  one. 

Jaq.   And  how  was  that  ta'en  up  ?  50 

ToiicJi.  Faith,  we  met,  and  found  the  quarrel  was 
upon  the  seventh  cause. 

Jaq,  How  seventh  cause  ?  Good  my  lord,  like  this 
fellow. 

Duke  S.    I  like  him  very  well. 

Touch.  God  'ild  you,  sir ;  I  desire  you  of  the  like. 
1  press  in  here,  sir,  amongst  the  rest  of  the  coun- 
try copulatives,  to  swear  and  to  forswear ;  accord- 
ing as  marriage  binds  and  blood  breaks :  a  poor 
virgin,  sir,  an  ill-favored  thing,  sir,  but  mine  own ;  60 
a  poor  humor  of  mine,  sir,  to  take  that  that  no 
man  else  will:  rich  honesty®  dwells  like  a  miser, 
sir,  in  a  poor  house;  as  your  pearF  in  your  foul 
oyster. 

Duke  S.  By  my  faith,  he  is  very  swift  and 
sententious. 

Touch.  According  to  the  fool's  bolt,°  sir,  and  such 
dulcet  diseases." 

Jaq.  But,  for  the  seventh  cause ;  how  did  you  find 
the  quarrel  on  the  seventh  cause  ?  70 

Touch.  Upon  a  lie  seven  times  removed  :  —  bear 
your   body    more    seeming,   Audrey :  —  as   thus,   sir. 


Act  V.  Sc.  iv.]  AS  YOU  LIKE  IT  115 

I  did  dislike  the  cut  of  a  certain  courtier's  beard: 
lie  sent  me  word,  if  I  said  his  beard  was  not  cut 
well,  he  was  in  the  mind  it  was :  this  is  called  the 
Eetort  Courteous.  If  I  sent  him  word  again  'it 
was  not  well  cut,'  he  would  send  me  word,  he  cut 
it  to  please  himself :  this  is  called  the  Quip  Modest. 
If  again  '  it  was  not  well  cut,'  he  disabled  my  judg- 
ment :  this  is  called  the  Eeply  Churlish.  If  80 
again  'it  was  not  well  cut,'  he  would  answer,  I 
spake  not  true  :  this  is  called  the  Reproof  Valiant. 
If  again  'it  was  not  well  cut,'  he  would  say,  I 
lied :  this  is  called  the  Countercheck  Quarrelsome : 
and  so  to  the  Lie  Circumstantial  and  the  Lie  Direct. 
Jaq.  And  how  oft  did  you  say  his  beard  was  not 
well  cut? 

Touch.  I  durst  go  no  further  than  the  Lie  Circum- 
stantial, nor  he  durst  not  give  me  the  Lie  Direct ;  90 
and  so  we  measured  swords°  and  parted. 

Jaq.  Can  you  nominate  in  order  now  the  degrees  of 

the  lie  ? 
Touch.  0  sir,  we  quarrel  in  print,  by  the  book;°  as 
you  have  books  for  good  manners  :°  I  will  name  you 
the  degrees.  The  first,  the  Retort  Courteous;  the 
second,  the  Quip  Modest;  the  third,  the  Reply 
Churlish  ;  the  fourth,  the  Reproof  Valiant ;  the  fifth, 


116  AS   YOU  LIKE  IT  [Act  V.  Sc.  iv. 

the  Countercheck  Quarrelsome ;  the  sixth,  the  Lie  loo 
with  Circumstance  ;  the  seventh,  the  Lie  Direct.  All 
these  you  may  avoid  but  the  Lie  Direct ;  and  you  may 
avoid  that  too,  with  an  If.  I  knew  when  seven  jus- 
tices could  not  take  up  a  quarrel,  but  when  the  parties 
were  met  themselves,  one  of  them  thought  but  of  an  If, 
as  ^If  you  said  so,  then  I  said  so;'  and  they  shook 
hands  and  swore  brothers.  Your  If  is  the  only  peace- 
maker ;  much  virtue  in  If. 

Jaq.  Is  not  this  a  rare  fellow,  my  lord  ?  he's  as  good 
at  any  thing  and  yet  a  fool.  no 

Duke  S.  He  uses  his  folly  like  a  stalking-horse  and 
under  the  presentation  of  that  he  shoots  his  wit. 

Enter  Hymex,  Eosalind,  and  Celia.     Still  Music. 

Hym.  Then  is  there  mirth  in  heaven, 
When  earthly  things  made  even 
Atone  together. 

Good  Duke,  receive  thy  daughter 
Hymen  from  heaven  brought  her, 

Yea,  brought  her  hither. 
That  thou  mightst  join  her  hand  with  his    120 
Whose  heart  within  his  bosom  is. 

Ros.    \_To  Duke  S.]     To  you  I  give  myself,°  for  I 
am  yours. 


Act  V.  Sc.  iv.]  AS  YOU  LIKE  IT  117 

[To  Orl.]     To  you  I  give  myself,  for  I  am  yours. 
D.uJce  S.    If  there  be  truth   in   sight,  you  are   my 

daughter. 
Oii.   If  there  be  truth  in  sight,  you  are  my  Eosalind. 
Phe.  If  sight  and  shape  be  true, 

Why  then,  my  love  adieu !  ° 
Hos.   I'll  have  no  father,  if  you  be  not  he : 

I'll  have  no  husband,  if  you  be  not  he : 
Nor  ne'er  wed  woman,  if  you  be  not  she.     130 
Hym.         Peace,  ho  !  I  bar  confusion : 
'Tis  I  must  make  conclusion 

Of  these  most  strange  events  : 
Here's  eight  that  must  take  hands 
To  join  in  Hymen's  bands, 

If  truth  holds  true  contents. 
You  and  you  no  cross  shall  part  : 
You  and  you  are  heart  in  heart : 
You  to  his  love  must  accord, 
Or  have  a  woman  to  your  lord :  140 

You  and  you  are  sure  together, 
As  the  winter  to  foul  weather. 
Whiles  a  wedlock-hymn°  we  sing. 
Feed  yourselves  with  questioning ; 
That  reason  wonder  may  diminish. 
How  thus  we  met,  and  these  things  finish. 


118  AS   YOU  LIKE  IT  [Act  V.  Sc.  iv. 

Song 

Wedding  is  great  Juno's  crown : 
0  blessed  bond  of  board  and  bed  ! 

'Tis  Hymen  peoples  every  town  ; 

High  wedlock®  then  be  honored :  150 

Honor,  high  honor,  and  renown, 

To  Hymen,  god  of  every  town ! 

DuJce  S.   0  my  dear  niece,  welcome  thou  art  to  me ! 
Even  daughter,®  welcome,  in  no  less  degree. 

Phe.    I  will  not  eat  my  word,  now  thou  art  mine ; 
Thy  faith  my  fancy®  to  thee  doth  combine. 

Enter  Jaques  de  Boys 

Jaq.  de  B.    Let  me  have  audience  for  a  word  or  two: 
I  am  the  second  son°  of  old  Sir  Eowland, 
That  bring  these  tidings  to  this  fair  assembly. 
Duke  Frederick,  hearing  how  that  every  day  160 

Men  of  great  worth  resorted  to  this  forest, 
Addressed  a  mighty  power ;  which  were  on  foot, 
In  his  own  conduct,  purposely  to  take 
His  brother  here  and  put  him  to  the  sword : 
And  to  the  skirts  of  this  wild  wood  he  came ; 
Where  meeting  with  an  old  religious  man, 
After  some  question  with  him,  was  converted 


Act  V.  Sc.  iv.]  AS   YOU  LIKE  IT  119 

Both  from  his  enterprise  and  from  the  world ; 

His  crown  bequeathing  to  his  banished  brother, 

And  all  their  lands  restored  to  them  again  170 

That  were  with  him  exiled.     This  to  be  true, 

I  do  engage  my  life. 

DuJce  S.  Welcome,  young  man ; 

Thou  offer' st  fairly°  to  thy  brothers'  wedding: 
To  one  his  lands  withheld ;  and  to  the  other 
A  land  itself  at  large,  a  potent  dukedom. 
First,  in  this  forest  let  us  do  those  ends 
That  here  were  well  begun  and  wel'  begot : 
And  after,  every°  of  this  happy  number. 
That  have  endured  shrewd°  days  and  nights  with  us. 
Shall  share  the  good  of  our  returned  fortune,  180 

According  to  the  measure  of  their  states. ° 
Meantime,  forget  this  new-fallen  dignity, 
And  fall  into  our  rustic  revelry. 
Vlsij,  music !     And  you,  brides  and  bridegrooms  all. 
With  measure  heaped  in  joy,  to  the  measures  fall. 

Jaq.    Sir,  by  your  patience.     If  I  heard  you  tightly, 
The  Duke  hath  put  on  a  religious  life 
And  thrown  into  neglect  the  pompous  court  ? 

Jaq.  de  B.   He  hath. 

Jaq.   To  him  will  I :  out  of  these  convertites         190 
There  is  much  matter  to  be  heard  and  learned. 


120  AS   YOU  LIKE  IT  [Act  V.  Sc.  iv. 

[  To  Duke  S. ]   You  to  your  former  honor°  I  bequeath ; 
Your  patience  and  your  virtue  well  deserves^  it : 

[To  Orl.]    You  to  a  love,  that  your  true  faith  doth 

merit : 
[To  Oli.]    You  to  your  land,  and   love,  and  great 

allies : 
\_To  SiL.]    You  to  a  long  and  well-deserved  bed : 
[To  Touch.]    And  you  to  wrangling ;  for  thy  loving 
voyage 
Is  but  for  two  months  victualled.     So,  to  your  pleas- 
ures :  ° 
I  am  for  other  than  for  dancing  measures. 

Duke  S.    Stay,  Jaques,  stay.  200 

Jaq.   To  see  no  pastime  I :  what  you  would  have 
I'll  stay  to  know  at  your  abandoned  cave.  [Exit 

Duke  S.   Proceed,  proceed :  we  will  begin  these  rites, 
As  we  do  trust  they'll  end,  in  true  delights. 

[_A  dance. 


Epilogue]  AS  YOU  LIKE  IT  121 

EPILOGUE 

Mos.  It  is  not  the  fashion  to  see  the  lady  the  epi- 
logue ;  but  it  is  no  more  unhandsome  than  to  see  the 
lord  the  prologue.  If  it  be  true  that  good  wine  needs 
no  bush,°  'tis  true  that  a  good  play  needs  no  epilogue  : 
yet  to  good  wine  they  do  use  good  bushes ;  and  good 
plays  prove  the  better  by  the  help  of  good  epilogues. 
AMiat  a  case  am  I  in  then,  that  am  neither  a  good  epi- 
logue, nor  cannot  insinuate  with  you  in  the  behalf  of 
a  good  play  !  I  am  not  furnished  like  a  beggar,  there- 
fore to  beg  will  not  become  me :  my  way  is  to  lo 
conjure  you ;  and  I'll  begin  with  the  women.  I  charge 
you,  0  women,  for  the  love  you  bear  to  men,  to  like 
as  much  of  this  play  as  please  you :  and  I  charge  you, 
0  men,  for  the  love  you  bear  to  women,  —  as  I  per- 
ceive by  your  simpering,  none  of  you  hates  them, — 
that  between  you  and  the  women  the  play  may  please. 
If  I  were  a  woman°  I  would  kiss  as  many  of  you  as 
had  beards  that  please  me,  complexions  that  liked  20 
me  and  breaths  that  I  defied  not :  and,  I  am  sure,  as 
many  as  have  good  beards  or  good  faces  or  sweet 
breaths  will,  for  my  kind  offer,  when  I  make  curtsy, 
bid  me  farewell.  lExemit. 


NOTES 

ACT  I 

Scene  I 

Orchard  :  that  is,  garden.  See  Julius  Coesar,  Act  II,  Scene 
1,  "  Brutus' s  orchard." 

2.  bequeathed :  no  plain  syntax  can  be  discovered  for  this 
word.  Some  editors  suggest  that,  since  the  conversation  begins 
abruptly,  the  pronoun  "  he  "  or  the  words  "  my  father"  should 
be  supplied  as  subject  of  "bequeathed,"  Then  the  reference 
of  the  pronoun  "his"  in  the  fourth  line  would  become  clear. 
A  comparison  of  the  beginning  of  Lodge's  Rosalynde  may 
profitably  be  made  at  this  point.  In  Lodge's  novel  the  dying 
father  calls  his  sous  about  him  and  tells  what  he  wishes  to 
bequeath  to  each.  Is  there  any  reason  why  Shakespeare's  j)Za?/ 
should  commence  quite  differently  from  Lodge's  story?  Why 
fehould  not  the  dying  father  of  the  novel  be  introduced  into  the 
play  ?  poor  a  thousand  :  In  A.  T.  L.  the  student  will  -observe 
a  number  of  illustrations  of  this  peculiar  word  order,  in  which 
an  adjective  precedes  an  article  or  a  possessive  pronoun.  Com- 
pare "  Gentle  my  lord,"  in  Macbeth^  III,  2,  27. 

12.  manage :  for  convenience,  the  editor  has  gathered  to- 
gether in  each  scene  the  words  which  should  be  looked  up  in 

123 


124  NOTES  [Act  I.  Sc.  i. 

the  dictionaries.  Some  words  not  included  in  the  lists  will 
probably  not  be  understood  by  all  pupils  without  thumbing  of 
the  lexicons.  In  this  section  what  do  the  following  mean  : 
manage,  12  ;  dearly,  13  ;  countenance,  19 ;  hinds,  20  ;  mines, 
22  ;  orchard,  44  ;  railed,  64  ;  allottery,  76  ;  fleet,  123  ;  device, 
156;   anatomize,  161 ;  device,173;  misprised,  177? 

32.  make  :  be  on  the  alert  for  plays  on  words,  tha'..  is,  for 
puns.  The  excessive  use  of  puns  was  a  failing  of  sixteenth 
century  dramatists.  Shakespeare  freely  toys  with  the  meanings 
of  words.  Here  Oliver  has  just  asked  Orlando  what  he  makes, 
meaning  what  is  he  doing,  what  is  he  about.  Orlando  sees  the 
chance  for  a  pun,  and  remarks  that  he  is  not  taught  to  "  make" 
anything.  Compare  also  the  word  "  villain "  in  lines  58  and 
59.  "Villain"  sometimes  meant  ruffian  and  sometimes  rustic, 
countryman,  person  of  low  birth. 

38.  be  naught :  an  expression  of  impatient  contempt,  equiv- 
alent to  "Go  to."  One  of  the  editors  interprets  the  words  to 
mean  "Be  content  to  be  a  cipher."  Another  says  that  the 
expression  is  a  North-country  provincial  curse,  meaning  "a 
mischief  on  you."  The  words  '*  a  while,"  Warburton  thinks, 
have  no  perceptible  influence  on  the  exclamation.  Capell 
renders  the  idea  of  "Be  naught  to  you"  by  the  phrase  "Be 
hanged  to  you."     Compare  III,  2,  15. 

41.  prodigal  portion :  where  elsewhere  in  your  reading 
have  you  learned  about  a  prodigal,  who  fed  on  husks  among 
swine  ? 

46.  than  him  :  the  grammatical  peculiarities  of  A.  T.  L.  will 
require  frequent  reference  to  Abbott's  A  Shakespearian  Gram- 
mar or  to  Franz's    Shakespeare- Grammatik.    If  you  find  it 


Act  I.  Sc.  i.]  NOTES  125 

impossible  to  parse  some  of  Shakespeare's  pronouns  according 
to  recent  grammars  of  English,  do  not  be  surprised.  Try  to 
account  for  the  various  forms,  and  if  you  are  puzzled  consult 
Abbott  or  Franz. 

54.  his  reverence :  is  this  to  be  taken  as  a  suggestion  that 
Orlando's  father  was  a  priest,  or  minister,  or  preacher  ? 

57.  too  young  in  this  :  in  what  ?  Furness  thinks  that  the 
action  here  is  so  distinctly  set  forth  that  stage  directions  are 
wholly  superfluous,  if  not  intrusive. 

58.  lay  hands  :  does  Orlando  lay  hands  on  Oliver  ?  If  you 
have  seen  the  play  staged,  you  can,  of  course,  easily  answer  the 
question  ;  but  even  if  you  have  not,  you  can  tell  from  the  lines 
themselves  how  the  actors  who  tftke  the  parts  of  Oliver  and 
Orlando  would  conduct  themselves.  In  Bosalynde,  the  young- 
est brother,  instead  of  laying  hands  on  the  eldest,  puts  his  men 
to  flight  by  belaboring  them  with  "  a  great  rake  "  that  he  picked 
up  in  the  garden. 

64.  so :  for  saying  what  ?  Translate  into  your  own  words 
the  ideas  that  you  get  from  this  whole  speech  of  Orlando 

66.  your  father's  remembrance :  that  is,  because  of  your 
remembrance  of  your  father. 

88.  spoke  :  obviously  one  cannot  take  Shakespeare  as  guide 
in  the  use  of  such  forms  as  this.  Collect  from  the  play  all  past 
participles  and  preterites  that  differ  from  present  usage. 

92.  thousand  crowns :  does  Oliver  anywhere  in  the  play  give 
Orlando  this  sum  or  any  part  of  it  ?    Note  the  two  negatives. 

98.  'Twill  be  :  what  will  be  a  good  way  ?  This  is  one  of  the 
places  where  the  dramatist  suggests  much  without  saying  it 
explicitly.     What  is  suggested  here  ? 


126  NOTES  [Act  1.  Sc.  i. 

102.  new  court :  by  the  way  in  which  Oliver  asks  his  ques- 
tion, we  are  indirectly  informed  that  he  already  knows  about 
the  banishment  of  the  old  Duke. 

109.  leave  to  wander :  it  is  to  be  hoped  that  the  reference  of 
the  pronoun  "whose"  is  understood  here.  If  it  is,  then  the 
reason  why  the  new  Duke  was  glad  to  let  these  lords  go  with 
the  banished  Duke  is  obvious. 

115.  to  stay:  we  should  express  the  idea  here  by  the  phrase 
"  at  being  obliged  to  stay."  Shakespeare's  use  of  infinitives, 
like  his  use  of  words,  requires  close  study.  See  list  of  composi- 
tion subjects,  p.  Iv. 

120.  forest  of  Arden :  in  line  148,  Orlando  is  referred  to  by 
Oliver  as  the  "  stubbornest  "young  fellow  of  France."  Natu- 
rally, then,  the  student  jumps  to  the  conclusion  that  the  forest 
of  Arden  is  in  France.  Yet  Shakespeare  as  a  boy  was  perfectly 
familiar  with  the  region  in  England  called  Arden,  so  that  it  is 
just  as  likely  that  the  forest  of  Arden  referred  to  here  is  in 
England  as  in  France.  The  thing  for  the  pupil  to  do  is  to  make 
up  his  mind  once  for  all  whether  it  makes  the  least  bit  of  dif- 
ference where  the  forest  was.  After  this  has  been  settled,  it 
will  be  good  mental  gymnastics  to  get  together  all  the  argu- 
ments for  and  against  an  English  or  a  French  location  for  the 
forest. 

121.  a  many  merry  men :  what  idea  comes  to  you  from  the 
words  "merry  men"  ? 

122.  Robin  Hood :  who  represents  Robin  Hood  in  Ivanhoe  ? 
Dr.  Furness  cites  this  A.  T.  L.  reference  to  Robin  Hood  as  an 
almost  certain  indication  tliat  Shakespeare  intended  his  audience 
to  feel  that  the  forest  life  of  the  play  is  English  forest  life,  no 


Act  I.  Sc.  i.]  NOTES  127 

matter  where  actual  forests  of  Arden  might  be  found.  In  fact, 
so  impressed  with  this  view  is  the  genial  Dr.  Eurness,  that  he 
devotes  a  charming  paragraph  of  his  Variorum  preface  to  the 
thoroughly  English  tone  of  the  play.  Here  is  an  extract :  "  It  is 
through  and  through  an  English  comedy,  on  English  soil,  in 
English  air,  beneath  English  oaks  ;  and  it  will  be  loved  and 
admired,  cherished  and  appreciated,  by  Englishmen  as  long  as 
an  English  word  is  uttered  by  an  English  tongue.  Nowhere  else 
on  the  habitable  globe  could  its  scene  have  been  laid  but  in 
England,  nowhere  else  but  in  Sherwood  Forest  has  the  golden 
age,  in  popular  belief,  revisited  the  earth,  and  there  .alone  of  all 
the  earth  a  merry  band  could,  and  did,  fleet  the  time  carelessly. 
England  is  the  home  of  As  You  Like  It,  with  all  its  visions 
of  the  Forest  of  Arden  and  heavenly  Rosalind." 

126.  What:  this  word  merely  turns  the  thought  to  a  new 
topic  ;  it  is  about  equivalent  to  "by  the  way." 

135.  for  your  love :  collect  from  the  play  other  examples  of 
this  same  use  of  what  seems  to  be  a  possessive  pronoun  modify- 
ing a  noun,  where  we  should  use  a  pronoun  object  of  a  preposi- 
tion.    Compare  1.  66. 

166.   alone :  if  he  did  not  go  "  alone,"  how  would  he  go  ? 

173.  never  schooled :  Saladyne,  the  eldest  son  of  Sir  John, 
meditates  thus  in  Bosalynde:  "  Let  him  [Rosader]  know  little, 
so  shall  he  not  be  able  to  execute  much,  suppress  his  wittes 
with  a  base  estate,  and  though  he  bee  a  Gentleman  by  nature, 
yet  form  him  anew,  and  make  him  a  peasant  by  nurture :  so 
Shalt  thou  keepe  him  as  a  slave,  and  raign  thy  selfe  sole  Lord 
over  all  thy  fathers  possessions." 


128  NOTES  [Act  I.  Sc.  ii 


Scene  II 

1.  coz :  look  up  this  word,  and  also  the  following ;  wit,  48, 
68  ;  taxation,  91  ;  amaze,  115  ;  misprised,  192  (cf.  I,  1,  177)  ; 
deceived,  209  ;  mightily,  218 ;  still,  239 ;  suits,  257  ;  humor- 
ous, 278. 

6.  learn:  what  does  the  use  of  "teach"  in  the  preceding 
line,  compared  with  the  use  of  "learn"  here,  indicate  with 
regard  to  the  meaning  of  the  words  "teach"  and  "learn"  in 
Shakespeare's  time  ? 

18.    I :  would  this  be  considered  grammatically  correct  now  ? 

22.  in  affection :  this  phrase  balances  what  single  word  in 
the  preceding  line  ? 

27.  falling  in  love :  Rosalind's  playful  suggestion  is  of  inter- 
est when  the  later  development  of  the  plot  is  considered. 

38.  blind  woman  :  who  was  this  "  bountiful  blind  woman  "  ? 
Search  your  dictionaries  of  mythology  or  consult  your  Latin 
and  Greek  teacher  regarding  the  classical  allusion.  Compare 
II,  7,  16. 

42.  ill-favoredly :  can  this  be  justified  as  correct  grammar  ? 
Compare  1.  162. 

48.  fall  into  the  fire :  be  careful  not  to  miss  Celia's  point. 
Rosalind  says  that  Fortune  does  not  have  to  do  with  a  person's 
features.     Celia  questions  this  statement.     Is  she  right  ? 

56.  such  goddesses:  as  for  instance.  Fortune,  "the  boun- 
tiful blind  woman"  of  line  38. 

60.  come  away :  when  the  latter  part  of  the  scene  is  com- 
pared with  this  passage  does  it  seem  likely  that  Celia's  father 
in  reality  sent  Touchstone  with  a  message  requesting  the  pre** 


Act  I.  Sc.  ii.]  NOTES  129 

ence  of  Celia  and  Rosalind  ?  Duke  F.  speaks  in  line  164,  with 
apparent  surprise,  of  their  having  "crept"  to  see  the  wrest- 
ling. 

63.  by  mine  honor :  Celia  in  line  22  used  the  same  expres- 
sion. Why  does  this  increase  the  humor  of  the  use  of  the  same 
words  here  ? 

87.  old  Frederick  :  see  whether  the  name  of  Celia's  father  is 
mentioned  elsewhere  in  the  play.  Is  the  name  of  Rosalind's 
father  given  at  all  ? 

102.  marketable  :  if  you  have  ever  seen  poultry  prepared  for 
market  you  can  quickly  see  the  point,  even  though  Celia  is 
talking  about  "  pigeons  "  rather  than  poultry. 

111.  decrees  :  grammar  ? 

112.  Well  said :  Celia's  remark  implies  that  Touchstone  has 
been  particularly  flattering  to  Le  Beau  in  adding  the  words 
"  Or  as  the  Destinies  decrees"  to  Rosalind's  remark,  "As  wit 
and  fortune  will."  How  was  his  addition  in  the  nature  of  a 
compliment  to  Le  Beau  ? 

113.  rank:  observe  the  pun.  In  what  sense  does  Touch- 
stone use  "  rank  "  ?  The  sense  to  which  Rosalind  perverts  the 
word  in  order  to  make  a  pun  at  Touchstone's  expense  is  obvious. 

124.  There  comes :  merely  the  expletive  "  there,"  not  the 
locative.  "Comes"  is  in  the  historical  present,  so  that  the 
passage  means  "An  old  man  and  his  three  sons  came."  This 
interpretation  is  made  plain  by  "  Yonder  they  lie,"  in  line  137. 
Compare  V,  2,  82.  For  the  plural  form  "comes"  instead  of 
"come,"  see  Abbott,  §  335,  which  treats  of  the  inflection  in  -s 
preceding  a  plural  subject.  Abbott  explains,  though  somewhat 
clumsily,  that  when  the  verb  precedes  the  subject,  that  is, 

K 


130  NOTES  [Act  I.  Sc.  iL 

when  the  subject  is  as  yet  unsettled,  the  third  person  singular 
may  be  regarded  as  the  normal  inflection,  e.(/.,  — 

"  There  is  more  such  masters."  —  Cymheline,  IV,  2,  371. 

131.  bills  on  their  necks :  this  passage  completely  baffles 
most  high  school  pupils.  What  connection  is  there  between 
Rosalind's  remark  and  the  speech  of  Le  Beau  immediately  pre- 
ceding ?  Bear  in  mind  that  Rosalind  adopts  the  playful  tone 
all  along  here,  while  Le  Beau  is  intensely  serious.  Look,  then, 
for  a  pun  on  Rosalind's  part  or  for  a  bit  of  mock  seriousness. 
Le  Beau's  sober  statement  of  fact,  "Three  young  men  of  excel- 
lent growth  and  presence,"  perhaps  suggests  to  Rosalind  the. 
notion  of  a  sale  in  which  all  the  objects  are  carefully  labelled, 
with  their  merits  fully  stated,  in  order  that  by  these  presents  — 
a  pun  on  Le  Beau's  word  presence  —  "all  men"  might  learn 
and  be  ready  to  buy.  The  word  "bill"  in  this  sense  means 
label,  or  advertisement,  or  inscription  running  in  legal  form. 
In  Macbeth,  III,  1,  99,  the  word  seems  to  be  about  equivalent 
to  catalogue.  "Bill,"  however,  was  frequently  used,  in  a 
quite  different  sense,  as  the  name  of  a  kind  of  weapon.  In 
Ivanhoe,  for  instance,  one  of  the  characters  says  disparagingly 
of  the  hero,  "He  is  fitter  to  do  the  juggling  tricks  of  the  Nor- 
man chivalry  than  to  maintain  the  fame  and  honor  of  his  Eng- 
lish ancestry  with  the  glaive  and  brown-&i7Z,  the  good  old 
weapons  of  the  country."  See  also  Chapter  32,  "The  tramp 
of  horses  was  now  heard,  and  the  Lady  Rowena  appeared,  sur- 
rounded by  several  riders,  and  a  much  stronger  party  of  foot- 
men, who  joyfully  shook  their  pikes  and  clashed  their  brown- 
bills  for  joy  of  her  freedom."     That  such  "bills"  might  be 


ActI.  Sc.  ii.]  NOTES  131 

carried  on  the  neck  is  evident  from  a  number  of  passages  in 
Lodge's  Bosalynde,  sucli  as,  "He  came  pacing  towards  them, 
with  his  Forrest  bill  on  his  necli."  "  Saladyne  heaved  up  a 
Forrest  bill  he  had  on  his  neck,  and  the  first  he  struck  had 
never  after  more  need  of  a  Phisition."  "Taking  his  Forrest 
bill  on  his  neck,  hee  trudgeth  in  all  haste  towards  the  plaines, 
where  Alienaes  fiockes  did  feede,"  Eosalind  is  evidently  play- 
ing on  the  two  uses  of  the  word  "bill,"  and  on  the  two  words 
which  sound  alike  —  "  presence  "  and  "  presents." 

Still,  though  this  explanation  seems  to  make  the  passage 
fairly  intelligible,  it  is  only  the  part  of  modesty  to  record  what 
Dr.  Johnson  and  Dr.  Furness  have  said  about  these  much- 
discussed  lines.  Dr.  Johnson  wrote  this  sentence,  "  Where 
meaning  is  so  very  thin  as  in  this  vein  of  jocularity  it  is  hard  to 
catch,  and  therefore  I  know  not  well  what  to  determine."  Dr. 
Furness,  besides  this  comment  of  the  puzzled  old  Johnson,  cites 
conjectures  and  emendations  of  half  a  dozen  later  editors,  and 
then  is  forced  to  confess  that  with  Dr.  Johnson  he  "  knows  not 
well  what  to  determine." 

141.  Alas  :  Furness  cites  the  following  note  from  another 
commentator,  "It  is  often  by  such  apparently  slight  touches 
as  these  that  Shakespeare  depicts  the  moral  perfection  of  his 
characters  and  gives  them  their  crowning  charm."  How  does 
Rosalind  show  any  "  moral  perfection  "  or  "  crowning  charm  " 
by  this  particular  exclamation  ? 

149.  any  else  :  note  the  variation  from  present  idiom.  Com- 
pare "every,"  V,  4,  178. 

150.  broken  music:  Murray'sDictionary  shows  what  "broken 
music  "  means,  but  does  not  explain  the  application  to  this 


132  NOTES  [Act  I.  Sc.  ii. 

passage.  "Broken  music"  was  "part"  music,  "concerted," 
"arranged  for  different  instruments."  Instruments  in  those 
times  were  "  made  in  sets  of  four  which  when  played  together 
formed  a  consort."  If  one  or  more  instruments  of  one  set  were 
substituted  for  instruments  of  another  set,  the  resulting  music 
was  called,  not  a  consort,  hut  broken  music.  It  has  been  sug- 
gested that  the  parting  or  breaking  of  ribs  seemed  to  Kosalind's 
whimsical  mind  like  the  kind  of  music  called  technically  "  part " 
or  "broken"  music. 

169.  odds  in  the  man  :  that  is,  in  favor  of  the  man.  "  Man  " 
refers  evidently  to  the  wrestler  Charles.  Because  of  the 
"youth"  of  the  challenger,  Orlando,  the  Duke  tried  to  dis- 
suade him  from  the  contest.  This  is  a  difficult  scene  to  stage 
well,  since  Orlando  is  represented  as  a  rather  slight,  but  wiry 
young  man,  wrestling  with  an  older  man  of  much  greater  bulk 
and  bigger  muscles.  The  thing  to  do  is  to  make  the  spectator 
think  it  plausible  for  the  slight  man  to  down  the  bulky  man. 

177.  them  :  though  Le  Beau  announced  to  Orlando  that  only 
the  princess,  i.e.  Celia,  called  for  him,  Orlando  probably  noticed 
both  the  young  ladies,  and  consequently  he  answered  that  he 
attended  them  with  all  respect  and  duty.  He  seems  to  have 
taken  particular  notice  of  Eosalind  at  his  first  glance  ;  compare 
line  272. 

180.  general  challenger :  compare  Ivanhoe,  where  the  five 
knights  challengers  meet  all  comers. 

197.  so  fair  and  excellent :  does  the  courteous,  even  courtly, 
tone  of  Orlando  seem  surprising  in  one  brought  up  as  he  says 
he  was  brought  up  ?  Observe  the  careful,  balanced  structure 
of,  "I  shall  do  my  friends  no  wrong,  for  I  have  none  to  lament 


Act  I.  Sc.  ii.]  KOTES  133 

me,"  and  "the  world  no  injury,  for  in  it  I  have  nothing."  The 
apparent  inconsistency  between  Orlando's  manner  of  talking 
and  his  statements  about  his  education  can  be  accounted  for  in 
what  way  ? 

222.  Hercules  :  the  general  meaning  here  is  obvious  enough  : 
Rosalind  wishes  him  success.  What  has  "Hercules"  to  do 
with  the  matter? 

225.  0  excellent  young  man :  compare  the  same  words  in  the 
mouth  of  Shylock,  Merchant  of  Venice,  IV,  1,  238.  Notice 
that  Rosalind  is  much  more,  contained  in  her  exclamations  of 
interest  and  sympathy  than  Celia.  Why  ?  Again,  in  hne  260, 
Celia  calls  Orlando  "fair  gentleman,"  whereas  Rosalind  ad- 
dresses him  merely  as  "gentleman." 

242.  fare  thee  well:  note  "Fare  you  well,"  lines  260,  268, 
295,  298,  and  V,  2,  130.  Why  the  difference  in  pronouns  ?  Com- 
pare the  college  song,  "Fare  thee  well,  for  I  must  leave  thee." 

249.  known  :  the  idea  is  that  Rosalind  had  not  before  known 
Orlando  to  be  the  son  of  Sir  Rowland. 

259.  could  give  more  :  what  would  be  our  word  instead  of 
"could  "  ?  In  Lodge's  story  Rosalynde  gives  Rosader  (Orlando) 
a  jewel  which  she  takes  from  her  neck.  Rosader,  having  no 
jewels  to  give  in  return,  steps  into  a  tent,  takes  pen  and  paper, 
and  writes  a  ten-line  poem,  of  which  one  line  is  :  — 

"  Pure  lockes  more  golden  than  is  golde  refinde." 

This  poem  he  gives  to  Rosalynde.  Try  to  construct  a  poem  of 
ten  lines  which  you  think  would  suitably  express  Orlando's 
feelings  on  this  occasion.  Possibly  you  might  include  among 
your  ten  lines  the  line  quoted  above  from  Lodge. 


134  NOTES  [Act  1.  Sc.  liL 

268.  Have  with  you :  Mr.  Rolfe  calls  this  a  common  idiom, 
meaning,  "I'll  go  with  you." 

277.  misconstrues:  scan  the  line  and  observe  the  necessary 
pronunciation.  In  the  production  of  this  play,  the  actor  is  care- 
ful to  give  the  Shakespearian  pronunciation  of  "misconstrues." 

279.   than  I :  comment  on  the  grammar. 

284.    the  taller  :  consistent  with  other  passages  ? 

290.  gentle :  be  on  your  guard  when  you  see  the  word 
"gentle"  in  Shakespeare;  it  often  has  a  meaning  different 
from  its  usual  present  sense.  When  you  speak  of  a  person  of 
gentle  birth,  you  are  using  the  word  in  the  frequent  Shake- 
spearian sense.     Compare  II,  3,  6  ;  II,  4,  70 ;  and  II,  7,  101. 

296.  better  world  :  caution — "Better  world  "  does  not  neces- 
sarily imply  heaven.     What  does  the  expression  mean  here  ? 

299.  must  I:  the  infinitive  is  omitted,  as  frequently  in  the 
play  elsewhere.  Compare  line  227.  What  word  might  be  sup- 
plied after  "must"  and  "should"  in  these  passages? 

Scene  III 

2.  not  a  word :  by  this  banter  on  Celia's  part  the  playwright 
lets  us  see  vividly  the  state  of  Rosalind's  feelings.  A  long 
explanation  would  be  out  of  place  in  the  drama.  Celia's  com- 
ments and  question  exactly  suit  Shakespeare's  purpose  of  arous- 
ing the  query  in  the  mind  of  the  spectator,  why  is  Rosalind 
downcast  ?     Compare  the  abrupt  opening  of  Act  III,  Scene  4. 

7.    were  :  note  the  accurate  use  of  the  subjunctive. 

19.  cry  hem  and  have  him :  if  you  will  say  this  to  yourself 
rapidly,  you  will  observe  Rosalind's  pun. 

25.   in  despite  of :    compare  II,  5,  49.      jests :   the  way  in 


Act  I.  Sc.  iii.]  NOTES  135 

which  Rosalind  throws  off  her  depression  and  holds  her  own 
in  this  bout  of  wit  brings  out  plainly  one  phase  of  her  char- 
acter. 

28.  strong  a  liking  :  now  the  reader  has  the  point  of  Celia's 
remark  in  her  first  speech  of  the  scene,  "  Cupid,  have  mercy  !  " 
Who  was  Cupid  ? 

38.    deserve  well :  deserve  ivhat  well  ? 

48.  bear  with  me:  observe  Rosalind's  quiet  submission  to 
the  sudden  demand  of  her  uncle.  By  saying,  "Let  me  carry 
with  me  the  knowledge  of  why  I  must  go,"  she  shows  that  she 
is  willing  to  submit  to  the  Duke's  demand,  even  though  she 
cannot  understand  the  reason  for  it.  The  sympathy  of  the 
reader,  therefore,  at  once  goes  out  to  Rosalind.  In  Lodge's 
story  the  usurping  king  (Torismond)  gives  as  his  reason  for 
banishing  Rosalynde,  that  she  has  been  making  "aspiring 
speeches"  and  has  been  "intending  treasons."  As  a  matter 
of  fact,  however,  the  king  is  fearful  lest  Rosalynde  niay  marry 
some  rich  peer,  who  will  then  strive  to  gain  the  kingdom  from 
him.  Alinda  (Celia)  pleads  earnestly  for  Rosalynde,  and  so 
enrages  her  father  that  he  banishes  both  girls  that  very 
day. 

51.  frantic:  see  dictionary,  and  also  look  up  purgation,  55  ; 
likelihood,  59;  remorse,  72;  still,  75;  doom,  85;  suit,  118; 
curtle-axe,  119  ;  woo,  135. 

73.  too  young  :  is  this  consistent  with  line  104  of  the  first 
scene  of  this  act  ?  Several  inconsistencies  in  the  play  may  be 
ferreted  out  by  the  keen  student.  Such  watchful  observation 
of  inconsistencies  is  to  be  encouraged.  Yet  do  not  conclude 
necessarily  that  the  play  is  essentially  weak  in  construction 


136  NOTES  [Act  IL  Sc.  I 

because  of  a  few  slips  due  to  haste  in  composition.  The  play 
on  the  whole  is  admirably  put  together. 

77.  Juno's  swans :  can  you  find  in  the  classical  dictionaries 
any  reference  to  swans  of  Juno  ?  Ask  your  teacher  of  Latin 
and  Greek  about  the  matter. 

89.  You  are  a  fool :  from  the  whole  tone  of  this  scene  do 
you  conclude  that  this  outburst  of  the  Duke's  is  unusual,  or 
are  you  rather  impressed  with  the  thought  that  it  is  probably 
but  one  of  many  such  incivilities  on  the  part  of  the  Duke  to 
his  daughter?  What  light  does  this  throw  on  the  Duke's 
character  ? 

91.  greatness  of  my  word :  the  Duke  appears  to  take  himself 
and  his  power  too  seriously.  He  even  verges  on  the  mock 
heroic  at  times. 

99.   am  :  account  for  the  singular  number  of  the  verb. 

109.  forest  of  Arden  :  Celia  is  the  one  who  proposes  the 
flight  to  the  forest.  But  who  suggests  the  way  for  carrying  out 
her  plan  ? 

130.  Aliena  :  how  has  the  name  which  she  is  to  assume  any 
"  reference  to  her  state  "  ?    See  Latin  dictionary,  under  alienus. 

140.    liberty  :  see  note  above  on  "  You  are  a  fool." 

ACT  II 

Scene  I 

5.  penalty  of  Adam :  what  was  the  penalty  of  the  first  man, 
and  why  was  it  inflicted  ? 

6.  icy  fang  :  what  is  gained  by  referring  to  the  wind  as  hav- 
ing an  "icy  fang"  ?    The  language  is  obviously  figurative.     Is 


ActII.  Sc.  i.]  NOTES  137 

the  figurative  statement  more  effective  than  a  simple,  literal 
statement  would  be  ?  Observe  that,  by  the  language  in  this 
speech  and  in  the  third  speech  of  the  scene,  one  is  made  to  feel 
plainly  the  tranquil,  pastoral  calm  of  the  banished  Duke's  life. 

8.  Which:  if  you  were  studying  grammar,  you  would  surely 
be  asked  to  parse  "  Which."     Could  you  do  it  ? 

10.    counsellors  :  who  are  the  "  counsellors  "  ? 

14.  precious  jewel :  of  course  a  toad  does  not  have  a  real 
jewel  in  its  head.  Yet,  by  a  tradition  going  back  as  far  as 
Pliny's  time,  toads  were  thought  to  have  stones  in  their  fore- 
heads. K  adversity,  like  the  mythical  toad,  bears  a  precious 
jewel  with  it,  what  must  the  jewel  be  ?  Commit  to  memory 
this  passage,  lines  1-17. 

32.  brawls  :  observe  what  vigor  is  gained  by  the  use  of  this 
specific  verb.  What  other  examples  are  there  of  particularly 
specific  language  in  this  scene  ? 

38.  big  round  tears :  this  passage  always  appeals  to  some 
pupils  as  being  really  pathetic.     Does  it  so  affect  you? 

41.  melancholy  Jaques  :  it  would  be  impossible  to  find  a 
better  adjective  to  characterize  Jaques.  Compare  line  26,  and 
also  IV,  1,  3. 

45.  similes  :  bring  the  scene  vividly  before  your  mind,  and 
try  to  imagine  other  similes  that  would  be  appropriate.  By  ex- 
ercises of  this  kind  one  may  be  led  to  appreciate  more  clearly 
the  skill  and  inventive  power  of  the  dramatist. 

53.  pasture  :  see  dictionary,  and  look  up  also  "cope,"  line 
67. 

62.  kill  them  up  :  "  up  "  appears  to  have  the  force  of  com- 
pleteness, as  in  familiar  expressions  like,  "The  city  bought  up 


138  NOTES  [Act  IL  Sc.  ii. 

the  property  round  the  school  for  a  playground."  The  word 
"up"  is  sometimes  used,  however,  even  at  the  present  day, 
without  any  special  significance.  See  Dialect  Notes,  Vol.  II, 
Part  III,  p.  143  :  "  meet  up.  '  He  met  up  with  him  in  New 
Orleans.'  " 

63.  native  dwelling-place  :  observe  that  Jaques  and  the 
Duke  had  the  same  idea  about  the  priority  of  rights  of  the  deer. 
See  the  Duke's  remark,  "  Being  native  burghers  of  this  desert 
city,"  line  23.  In  one  of  Rosader's  speeches  in  the  courting 
eclogue  of  Bosalynde,  the  sheep  are  called  "  Cittizens  of  Field," 
and  in  a  sonnet  of  Montanus  the  "  Cittizens  of  Wood  "  are  said 
to  be  standing  in  wonder  about  a  turtle  that  sat  mourning  upon 
a  "  leaveless  tree." 

SCEXE    II 

1.  them  :  the  method  of  plunging  into  the  midst  of  things 
is  well  illustrated  by  the  openhig  of  this  scene.  The  play-goer 
or  the  reader  is  flattered  to  feel  that  he  knows  at  once  to  whom 
"  them  "  must  refer. 

6.  in  the  morning  :  from  this  the  conjecture  has  been  made 
that  the  flight  was  not  reported  to  the  Duke  on  the  day  of  its 
occurrence,  but  at  least  one  day  later.  How  does  the  phrase 
"  in  the  morning  "  seem  to  bear  out  this  conjecture  ? 

8.  roynish  clown:  see  dictionary.  Look  up  also  "gentle- 
woman," line  10. 

10.  princess:  is  the  daughter  of  a  duke  now  called  "prin- 
cess "  ? 

17.  that  gallant  :  from  the  rest  of  the  passage,  can  you  make 
out  to  whom  "  gallant  "  refers  ?    The  pronouns  are  evidently 


Act  II.  Sc.  iii.v]  NOTES  139 

confused  along  here.  Try  to  straighten  out  the  references. 
Put  lines  17-19  into  prose  of  your  own  composition. 

19.  suddenly  :  look  out  for  the  Shakespearian  twist  on  words 
like  this.  "Suddenly"  here  means  "at  once,"  "right  off," 
"quickly." 

21.  foolish  runaways :  the  adjective  "  foolish "  seems  to 
imply  that  though  the  Duke  is  somewhat  worried,  he  feels  rea- 
sonably confident  that  his  daughter  will  soon  be  back  in  his 
court  again.  The  king  in  Lodge's  novel  is,  on  the  other  hand, 
a  more  hardened  villain.  lie  has  banished  his  daughter  with 
harshness,  and  appears  not  to  bother  himself  more  about  her. 

Scene  III 

4.  what  make  you :  recall  the  pun  made  on  these  words  in 
a  preceding  scene.  After  the  wrestling,  in  Bosalynde,  Rosader 
(Orlando)  lived  in  peace  with  his  brother,  Saladyne  (Oliver)  till 
Saladyne  conspired  to  make  people  think  Rosader  a  lunatic. 
Adam  helped  Rosader  to  escape  from  his  chains,  saying  to  him, 
"  When  I  give  you  a  wincke,  shake  off  your  chain es,  and  let  us 
plaie  the  men,  and  make  havocke  amongst  them,  drive  them 
out  of  the  house  and  maintaine  possession  by  force  of  armes, 
till  the  King  hath  made  a  redresse  of  your  abuses."  Rosader 
did  as  advised,  and  drove  Saladyne's  men  out  of  the  house. 
"  Seeing  the  coast  cleare,  he  shut  the  doores,  and  being  sore  an 
hungred,  and  seeing  such  good  victuals,  he  sat  him  doune  with 
Adam  Spencer,  and  such  good  fellowes  as  he  knew  were  honest 
men,  and  there  feasted  themselves  with  such  provision  as  Sala- 
dyne had  provided  for  his  friendes."  The  A.  Y.  L.  plot  omits 
this  part  of  the  story  entirely. 


140  NOTES  [Act  II.  Sc.  iii. 

5.  people  love  you  :  the  character  of  Orlando  is  brought  out 
by  what  Adam  personally  says  about  him,  and  by  what  the  old 
servant  reports  that  the  people  in  general  felt  toward  him. 
These  two  methods  of  presenting  character  will  be  found  useful 
in  composition  work.     See  p.  liv  of  the  Introduction. 

7.  fond  :  evidently  the  ordinary  sense  of  this  word  will  not 
fit  in  this  place.  By  consulting  the  dictionary,  the  student  can 
find  another  meaning  that  will  exactly  suit  the  passage.  Look 
up  also :  priser  and  humorous,  8 ;  use,  23 ;  practices,  26 ; 
butchery,  27  ;  caters,  44. 

9.  Your  :  again  the  possessive  form  for  our  modern  objective 
of  you.  The  idea  might  be  rendered  thus  :  "  the  praise  which 
others  bestowed  on  you."     Compare  I,  1,  66,  and  135. 

12.  No  more  do  yours  :  Gollancz  in  the  Temple  Shakespeare 
says  that  this  is  a  somewhat  loose  construction,  but  one  easily 
understood.  Nevertheless,  it  always  puzzles  the  young  student 
and  has  tempted  all  the  editors  to  explanations.  The  trouble  is 
that  there  has  been  since  the  dramatist's  day  a  change  in  the 
use  of  negatives.  We  are  more  accurate  in  this  respect  than 
the  Elizabethan  writers.  Where,  in  order  to  strengthen  a  nega- 
tion, they  used  two  or  sometimes  even  three  or  four  negative 
words  like  not^  we  use  one  or  none.  Where  sometimes  they 
merely  implied  a  negative,  we  state  the  idea  exactly.  In  this 
particular  passage,  as  Rolfe  explains,  a  negative  is  implied. 
Adam  says,  in  effect,  to  his  master  :  "  Don't  you  know  that  the, 
merits  of  some  men  serve  them  as  nothing  else  than  enemies  ? 
Yours  similarly  serve  you  as  nothing  else  than  enemies ;  they 
are  traitors  to  you,"  In  what  respect  were  Orlando's  virtues 
and  accomplishments  "  traitors  "  to  him  ? 


Act  II.  Sc.  iv.]  NOTES  141 

23.  burn  the  lodging:  is  this  an  implication  that  Orlando 
was  not  allowed  to  sleep  in  the  same  house  with  Oliver  ? 

37.  diverted  blood  :  doubtless  the  word  play  in  this  line  will 
not  escape  your  attention. 

57.  antique :  where  before  in  A.  Y.  L.  has  the  same  word 
occurred  ? 

65.   In  lieu  of :  that  is,  "  in  return  for." 

67.  youthful  wages  :  how  could  Adam's  money  be  spoken 
of  as  "youthful  wages,"  when  he  was  nearly  eighty  years  old  ? 

74.  a  week  :  plainly  this  is  not  to  be  taken  in  its  usual  literal 
significance  of  seven  days.  "What  does  "week"  mean  in  this 
line? 

Scene  TV 

3.  weary :  nowhere  is  the  artistic  effect  of  the  presence  of 
Touchstone  in  the  play  more  apparent  than  here,  where  by  his 
sprightly  air  he  helps  to  cheer  up  Rosalind-Ganymede  and  rouse 
her  from  the  depression  that  evidently  overwhelms  her  as  the 
scene  opens. 

12.  bear  no  cross  :  many  coins  of  Shakespeare's  time  were 
marked  with  a  cross.  There  is,  in  fact,  a  similar  allusion  in  a 
story  written  over  a  century  later.  Chapter  21  of  The  Vicar 
of  Wakefield,  written  in  1766,  contains  the  sentence,  "  '  I 
know  that  she  has  been  here  a  fortnight,  and  we  have  not  yet 
seen  the  cross  of  her  money.'  "  Thus  Touchstone's  pun  on  the 
two  senses  of  the  word  "cross"  becomes  intelligible.  Do  not 
take  Touchstone  too  seriously.  If  you  remember  that  Rosalind 
and  Celia  were  going  to  carry  off  money  and  jewels  with  them 
to  the  forest,  and  if  you  have  not  seen  any  mention  yet  of  their 


142  NOTES  [Act  IL  Sc.  iv. 

spending  this  money,  do  not  immediately  conjecture  that  be- 
cause Touchstone  refers  to  a  lack  of  money  in  Celia's  purse 
they  must  have  spent  or  lost  their  treasure.  Later  they  buy  a 
cottage  and  pasture.  Touchstone  must  have  his  joke,  you  see, 
regardless  of  facts.  It  is  a  general  tendency  of  witty  persons 
even  now  to  disregard  facts  in  order  to  make  an  effective  witty 
speech  or  pun. 

16.  in  Arden :  some  commentators  and  actors  profess  to  see 
a  pun  here.  They  say  that  probably  Touchstone  slurred  the  r 
in  Arden,  and  pronounced  the  words  "in  Arden"  as  if  they 
were  in  a  den.     What  do  you  think  of  this  suggestion  ? 

19.  be  so :  Rosalind,  wishing  to  stop  Touchstone's  cheerful 
banter,  tells  him  to  be  "content,"  perhaps  meaning  by  this 
expression  about  what  might  be  expressed  by  "  Well,  Touch- 
stone, that's  enough  for  this  time.     Let's  change  the  subject." 

20.  who  comes  here  :  the  arbor  in  which  Rosalynde  and 
Alinda  (Celia)  discover  two  shepherds  talking  —  one  old  and 
the  other  a  young  swain  —  is  described  by  Lodge  as  follows, 
"Round  about  in  the  form  of  an  amphitheater  were  most  curi- 
ously planted  Pine  trees,  interseamed  with  Lymons  and  Cytrons, 
which  with  the  thickness  of  their  boughes  so  shadowed  the 
place  that  Phoebus  [the  sun]  could  not  prie  into  the  secret  of 
that  Arbour." 

29.   As  sure  :  note  that  this  line  is  merely  parenthetical. 

38.  Wearying  thy  hearer  :  the  Temple  text  here  follows  the 
First  Folio  in  printing  Wearing,  which  means  the  same  thing 
as  ' '  Wearying. ' ' 

47.  him  :  study  the  reference  of  pronouns  in  this  speech. 
The  humor  consists  largely  in  Touchstone's  saying  that  he 


Act  11.  Sc.  iv.]  J^OTJES  143 

addressed  the  stone  and  the  peascod  as  if  they  were  persons. 
On  the  stage  the  word  "peascod"  of  this  passage  is  pronounced 
pes-cod. 

69.  Peace  :  by  this  word  Rosalind  expresses  slight  impatience 
at  Touchstone's  lofty  tone  and  at  Corin's  perhaps  unintentional 
pun  when  he  answered  Touchstone's  word  "betters"  in  a  dif- 
ferent sense  from  that  which  was  in  the  mind  of  Touchstone 
when  he  used  the  word. 

70.  gentle  :  compare  I,  2,  290. 

79.  graze  :  see  dictionary.  Also  learn  the  meaning  of  mend, 
94,  and  feeder,  99. 

81.  way  to  heaven  :  Wordsworth,  quoted  by  Furness,  "  can- 
not help  thinking"  that  Shakespeare  had  in  mind  when  he 
wrote  this  passage  the  idea  in  Matthew  xxv.  4.3,  "I  was  a 
stranger  and  ye  took  me  not  in."  Compare  also  1  Peter  iv.  9  ; 
Hebrews  xiii.  2  ;  and  Romans  xii.  1.3.  Could  Shakespeare  have 
seen  the  Authorized  Version  of  the  Bible  before  he  wrote 
A.  Y.  L.  ? 

88.  What:  that  is,  "what  sort  of  person?"  See  §  254  of 
Abbott,  "  In  the  Elizabethan  and  earlier  periods,  when  the 
distinction  between  ranks  was  much  more  marked  than  now,  it 
may  have  seemed  natural  to  ask,  as  the  first  question  about 
any  one,  'Of  what  condition  or  rank  is  he?'"  This  is  the 
function  of  the  word  what  in  line  88. 

91.  honesty :  Rosalind  thought  that  perhaps  the  young  shep- 
herd had  already  clinched  the  bargain,  and  she  would  not 
transgress  the  bounds  of  scrupulous  honesty,  even  though  she 
herself  would  like  to  buy  the  property.  Compare  V,  4, 62,  where 
"honesty"  has  a  different  meaning.     The  account  of  the  pur- 


144  NOTES  [Act  IL  Sc.  v. 

chase  is  thus  given  in  RosaJynde,  "  Aliena  resolved  there  to  set 
up  her  rest,  and  by  the  helpe  of  Coridon  swapt  a  hargaine  with 
his  Landslord^  and  so  became  mistres  of  the  farme  and  the 
flocke  :  herselfe  putting  on  the  attyre  of  the  shepherdesse,  and 
Ganymede  of  a  young  swaine  :  everye  day  leading  foorth  her 
flockes,  with  such  delight,  that  she  held  her  exile  happy,  and 
thoght  no  content  to  the  blisse  of  a  Countrey  cottage."  Ex- 
amine this  quotation,  not  only  to  see  how  the  details  about  the 
purchase  differ  in  the  two  narratives,  but  especially  to  observe 
how  the  language  of  Bosalynde  varies  from  present  English  in 
form  of  words  and  in  sentence  structure. 

Scene  V 

9.    melancholy  :  compare  note  on  II,  1,  41. 

19.  stanzos :  properly  a  stanzo  is  a  group  of  eight  verses  or 
lines.  In  the  First  Folio  edition  the  song  is  printed  in  only 
seven  verses,  the  words  "  Here  shall  he  see  no  enemy"  being 
one  line.  Pope  changed  to  an  eight-line  stanza,  as  printed  here. 
What  is  the  meaning  of  the  word  "stanza"  at  the  present  time? 
What  word  is  often  used  where  "stanza"  should  properly  be 
employed  ? 

21.  owe  :  the  connection  of  thought  between  Jaques's  state- 
ment that  he  does  not  care  for  the  names  of  these  bits  of  song, 
whether  they  are  stanzos  or  not,  and  his  further  statement  that 
the  names  owe  him  nothing  is  puzzling.  To  understand  the 
passage  one  must*  know  something  of  Shakespearian  use  of 
words.  Names  here,  as  Dr.  Furness  points  out,  stands  for  the 
Latin  jiomina,  plural  of  nomen.  The  word  nomina  was  some- 
times used  in  Shakespeare's  time  as  a  law  term  meaning  the 


Act  II.  Sc.  v.]  NOTES  145 

names  of  debts  that  were  owed,  the  different  items  of  debt  in 
an  account  book.  This  is  evidently  the  sense  of  the  word  on 
which  Jaques  plays  in  his  attempt  at  a  pun.  To  us  the  pun 
seems  far-fetched.  In  the  early  seventeenth  century,  however, 
Jaques's  point  would  be  obvious  to  the  audience. 

26.  that  they  call:  supply  "which"  after  "that"  and  the 
sense  of  the  line  will  become  more  apparent.  Paraphrased,  the 
lines  might  read  :"  But  that  which  people  call  compliment 
is  like  the  meeting  between  two  dog-faced  baboons.  When  a 
man  thanks  me  heartily,  I  feel  as  if  I  had  given  him  a  penny 
and  he  had  returned  thanks  to  me  just  like  a  beggar."  Still,  it 
is  difficult  to  understand  in  what  sense  the  making  of  a  compli- 
ment by  one  man  to  another  is  much  like  the  meeting  between 
two  monkeys.  Did  Jaques  intend  to  remark,  sententiously, 
that  the  buffoonery  of  a  couple  of  jabbering  apes  is  like  the 
chattering  of  two  men  paying  each  other  compliments  ? 

31.  Sirs:  to  whom  this  is  addressed  maybe  gathered  from 
the  context ;  see  the  stage  direction  at  the  beginning  of  the  scene, 
cover  :  used  in  a  peculiar  sense.  Consult  Century  Dictionary, 
under  the  verb  "cover,"  II,  2  :  "To  lay  a  table  for  a  meal; 
prepare  a  banquet." 

33.  to  look  you  :  not  idiomatic  now.  How  should  we  express 
the  same  idea  ? 

42.  eats  :  study  the  rhymes  in  the  three  songs  of  this  scene, 
and  then  try  to  explain  what  seems  a  variation  from  the  plan 
in  lines  42  and  43.  Could  "eats"  and  "gets"  possibly  have 
rhymed  in  Shakespeare's  period  ? 

48.  note:  used  in  a  broad  sense,  equivalent  to  "music,'- 
"tune." 


146  NOTES  [Act  II.  Sc.  v. 

49.  in  despite  of:  compare  I,  3,  25,  where  the  words  mean 
"notwithstanding."  Are  they  used  in  the  same  sense  here? 
One  of  the  editors  paraphrases,  "  As  imagination  would  do 
nothing  for  me,  I  spited  it  by  the  following  choice  composition." 

60.  ducdame :  Furness  has  three  pages  of  explanation. 
Rolfe  dismisses  the  matter  by  saying  that  probably  ducdame  is 
mere  nonsense,  coined  for  the  occasion.  Some  editors  change 
the  text  to  ducadme,  which  they  think  is  Latin,  meaning  "bring 
him  to  me." 

63.  first-born  of  Egypt :  commentators  appear  to  be  baffled 
by  this  allusion.  Why  Jaques  wished  to  rail  against  the  first- 
born of  Egypt  if  he  could  not  go  to  sleep  is  perplexing.  Words- 
worth's explanation  is  clear-cut,  if  not  convincing.  He  says 
that  Jaques  is  referring  to  the  old  Duke,  who  was  an  eldest 
son.  His  fortune  was  not  favorable  and  Jaques  had  shared 
banishment  with  him,  thus  forfeiting  his  property.  Jaques 
felt  that  he  might  well  rail  at  the  Duke  whenever  his  mood 
called  for  railing  at  any  one  or  anything.  This  explanation 
dodges  ''all  the  first-born"  and  "of  Egypt."  Perhaps  the 
latter  is  an  allusion  to  Exodus  xi.  5.  Possibly  the  whole  ex- 
pression is  only  a  strained  way  of  saying  betters,  superiors. 
The  fact  that  Jaques  has  given  the  editors  innumerable  hours 
of  diligent  research  over  such  allusions  as  this,  throws  consid- 
erable light  on  his  character.     In  what  way  ? 

64.  banquet :  the  word  now  means  dinner,  meal,  usually  ac- 
companied by  speech-making.  In  the  early  seventeenth  cen- 
tury "banquet"  sometimes  meant  dinner,  and  sometimes  only 
the  dessert.  By  comparison  with  II,  7,  98  and  127,  and  with 
a  large  dictionary  like  Murray's  or  the  Century,  determine  the 
meaning  here. 


Act  II.  Sc.  vii.]  NOTES  147 

Scene  VI 

6.  uncouth:  see  dictionary  for  special  meaning  to  fit  this 
context.  Also  look  up  conceit,  line  8,  which  is  not  used  in  its 
common  .significance,  and  desert,  line  18.  Would  you  call  a 
place  where  trees  grow  abundantly  a  desert  ?  The  word  is 
spelled  desart  in  Lodge,  p.  86  of  the  Hazlitt  reprint.  It  there 
refers  to  the  part  of  the  forest  of  Arden  in  which  Saladyne  fell 
asleep  when  he  had  been  hoping  to  push  on  toward  Lyons  and 
so  to  "travel  through  Germany  into  Italie." 

17.  cheerly  :  this  word,  used  also  a  few  lines  above  and  sug- 
gested in  the  fifth  line  by  "cheer  thyself  a  little,"  gives  the 
predominant  note  of  Orlando's  speech.  Observe  the  effect  of 
the  speech  upon  Adam.  The  scene  when  well  presented  on 
the  stage  is  remarkably  good.  What  does  Adam  do  and  what 
do  you  imagine  he  looks  like  ?  If  you  have  not  seen  the  play, 
try  to  describe  as  vividly  as  you  can  the  picture  in  your  mind 
as  you  read  the  words  of  the  dramatist. 

Scene  VII 

1.  he:  notice  what  is  gained  by  this  abrupt  introduction  of 
the  pronoun.  This  is  another  neat  illustration  of  the  dramatist's 
skill  in  arousing  expectation.  The  reader  naturally  wonders 
who  "he"  is,  and  is  impatient  to  find  out.  How  long  does 
Shakespeare  maintain  the  suspense  ?    be :  why  subjunctive  ? 

2.  no  where  :  observe  that  the  two  words  are  not  mn  into 
one,  as  is  common  in  writing  nowhere  at  present.  In  the  Tem- 
ple Shakespeare,  the  compounds  everywhere,  anything,  and 
everything  are  similarly  printed  each  as  two  words. 


148  NOTES  [Act  II.  Sc.  vii. 

4.  merry :  is  this  consistent  with  the  previous  characteriza- 
tion of  Jaques  as  melancholy  ?  See  also  below,  line  11, 
"merrily." 

5.  compact  of  jars :  that  is,  "  made  up,  composed,  compacted 
of  discords."  The  Duke's  fondness  for  striking  statements  is 
seen  plainly  in  this  speech,  as  in  his  first  speech  of  the  scene. 

16.    Lady  Fortune  :  compare  I,  2,  38. 

19.  fortune :  suggested  by  the  old  proverb,  Fortuna  favet  fatuis 
=  Fortune  favors  fools. 

20.  dial:  see  dictionaiy  for  this  word  and  also  "poke." 
Compare  Ganymede's  remark  to  Rosader  in  Lodge,  p.  81, 
"The  Sunne  and  our  stomackes  are  Shepheards  dials."  In 
Knight's  Pictorial  Edition  of  Shakespeare  there  is  a  picture  of  a 
"dial,"  p.  223  of  Vol.  II. 

34.  A  worthy  fool:  does  the  article  "A"  seem  out  of  place 
here  ?  What  might  be  put  in  its  place  to  correspond  with  the 
preceding  exclamation  ?  Two  lines  below,  instead  of  "  0 " 
what  might  be  written  to  clear  the  passage  of  ambiguity  ? 
Certainly  Jaques  did  not  intend  to  call  the  Duke  a  fool.  Yet  is 
it  not  possible  to  make  sense  out  of  the  passage  just  as  it  stands, 
without  tinkering  with  the  Temple  reading  ? 

39.    remainder :  meaning  ? 

43.  motley :  compare  lines  13,  34,  and  58 ;  and  III,  3,  79. 

44.  suit :  what  is  the  pun  ? 

56.   anatomized:  compare  I,  1,  162. 

63.  a  counter:  compare  Julius  Caesar,  IV,  3,  80,  "such 
rascal  counters."  In  Knight's  Pictorial  Edition  there  are  two 
pictures  of  counters.  Vol.  II,  p.  223.  Counters  are  small  thin 
coins,  usually  of  copper  or  brass,  but  occasionally  of  silver.     In 


Act  II.  Sc.  vii.]  NOTES  ^^49 

abbeys  and  other  places  where  the  revenues  were  complex  and 
of  difficult  adjustment,  counters  were  used  in  making  the  neces- 
sary calculations. 

68.  hast :  has,  which  is  the  form  in  the  Temple  Shakespear< 
is  evidently  a  misprint. 

71.   tax:  compare  I,  2,  91  and  II,  7,  86. 

73.  weary  very:  Rolfe  emends  thus,  "The  wearer's  very 
means."  Halliwell  retains  the  folio  text  and  explains  as  fol- 
lows, "  The  meaning  is,  does  not  pride  flow  as  stupendously  as 
the  sea,  until  that  its  very  means,  being  weary  or  exhausted,  do 
ebb  ?"  Furness  adopts  this  reading  because  none  of  the  pro- 
posed emendations  is  quite  satisfactory. 

96.  inland  bred :  how  does  this  come  to  mean  cultured  ? 
Compare  the  same  word  "inland,"  III,  2,  .363.  See  dictionary. 
Look  up,  beside,  the  following  words :  nurture,  97  ;  waste,  13-4  ; 
effigies,  193  ;  and  limned,  194. 

98.  fruit:  compare  line  127,  where  the  word  food  is  used. 
On  the  stage  nothing  but  fruit  is  served  on  the  tables  to  the 
Duke's  party.  Furness  makes  this  comment  on  the  line:  "It 
seems  superfluous,  if  not  worse,  to  call  attention  to  Shakespeare's 
accuracy  even  in  the  most  trivial  details.  Meat  or  food  would 
have  suited  the  rhythm  here,  but  '  fruit '  recalls  the  '  banquet ' 
which  was  now  before  the  Duke.  Of  course,  a  little  further  on, 
when  Orlando  says  he  dies  for  '  food,'  he  had  to  use  that  word 
then  ;  it  would  have  been  laughable  to  say  he  died  for  fruit.'" 

101.  gentleness:  equivalent  to  "good  birth"  in  this  line, 
whereas  two  lines  below  it  has  its  usual  present  meaning. 
Compare  the  note  on  line  96,  above,  and  I,  2,  290- 

107.    savage :  you  recall  that  in  his  talk  with  Adam,  Orlando 


150  NOTES  [Act  II.  Sc.  vii. 

said  that  if  he  came  upon  anything  savage  in  his  search,  either 
it  must  devour  him  or  he  would  devour  it. 

129.  an  old  poor  man:  compare  the  speech  in  Lodge, 
"  'Gramercy  sir,  but  I  have  a  feeble  friend  that  lyes  hereby 
famished  almost  for  food,  aged  and  therefore  lesse  able  to 
abide  the  extremitie  of  hunger  then  my  selfe  ;  and  dishonour  it 
were  for  me  to  taste  one  crumme  before  I  made  him  partner  of 
my  fortunes :  therefore  I  will  runne  and  fetch  him,  and  then  I 
will  gratefully  accept  of  your  proffer.'  " 

132.  weak  evils :  either,  "  evils  causing  weakness,"  or  "  evils 
caused  by  weakness."  Compare  thrifty  hire,  II,  3,  39  ;  and 
youthful  wages,  II,  3,  67. 

133.  Go  find  him  out:  after  the  interrupting  of  the  meal  by 
Rosader  in  the  novel,  Gerismond  made  him  a  "  Forrester. " 
In  this  position,  "he  rooted  out  the  remembrance  of  his 
brother's  unkindness  by  continuall  exercise,  traversing  the 
groves  and  wilde  Forrests." 

146.  morning  face :  this  whole  passage,  which  is  frequently 
quoted,  should  be  committed  to  memory. 

156.  modem  instances :  that  is,  trivial  illustrations ;  com- 
monplace sentences  or  proverbs  which  a  person  cites  to  support 
his  own  opinion.  See  dictionaiy  for  both  "modern"  and 
"  instances." 

161.  shrunk  shank :  repeat  this  aloud  and  determine  whether 
the  harshness  is  a  blemish  or  a  merit  in  the  context. 


ActIII.  Sc.  ii.]  NOTES  151 

ACT  m 

Scene  I 

1.  Not  see  him  since  :  this  abrupt  beginning  of  the  scene, 
indicating  that  only  a  part  of  the  conversation  is  reported,  is 
like  the  opening  of  what  other  scenes?  Drawing  freely  on 
your  inventive  powers,  fill  out  the  whole  conversation  in  dia- 
logue form. 

3.   argument :  that  is,  cause  or  reason.     Compare  I,  2,  291. 

12.  think  against  thee  :  what  was  the  exact  charge  brought 
by  Duke  Frederick  against  Oliver  ? 

15.  push  him  out  of  doors  :  it  is  interesting  to  compare  the 
lines  in  Tennyson's  Princess,  where  the  stalwart  ploughwomen 
expel  the  Prince  from  the  college  :  — 

'  *  Then  those  eight  mighty  daughters  of  the  plough 
Bent  their  broad  faces  toward  us  and  addressed 
Their  motion  .  .  . 

They  pushed  us,  down  the  steps,  and  thro'  the  court, 
And  with  grim  laughter  thrust  us  out  at  gates." 

17.  extent :  another  instance  where  Shakespeare  has  intro- 
duced a  legal  term.  What  does  this  one  mean?  What  in 
Shakespeare's  life  might  have  made  him  especially  familiar 
with  the  terms  used  by  lawyers  ? 

Scene  II 

This  scene,  by  several  pages  the  longest  in  the  play,  is 
admirable  for  a  number  of  reasons.  It  introduces  skilfully 
the  two   wits  of  the  play,  Touchstone  and  Jaques,  both  of 


152  NOTES  [Act  III.  Sc.  ii. 

whom  get  decidedly  the  worst  of  bouts  with  men  who  make  no 
pretensions  to  intellectual  cleverness  —  Corin  and  Orlando. 
The  scene  serves, -besides,  as  a  convenient  starting-point  for 
Rosalind's  plan  -by  which  she  promises  to  cure  the  love-sick 
Orlando.  Moreover,  this  scene  shows  two  young  girls  chattering 
away  to  each  other  as  lightly  and  naturally  as  any  two  bright 
girls  of  the  present  day.  Celia's  banter  of  Rosalind,  and  Rosa- 
lind's holding  back  in  order  that  she  may  not  appear  to  compre- 
hend too  soon  who  it  is  that  Celia  has  seen,  are  remarkably 
well  done.  Shakespeare  has  nowhere  shown  better  than  in 
this  happy  scene  his  peculiar  power  in  presenting  characters 
acting  as  persons  would  naturally  act  in  his  time  and  in  all 
times.  He  is  supreme  here  in  his  understanding  of  human 
nature. 

1.  my  verse:  what  did  Orlando  say  in  his  "verse"  ?  See 
line  93  and  the  following  lines. 

2.  thrice-crowned:  diva  triformis ;  Luna,  Diana,  Hecate. 
See  Century  Dictionary  of  Names,  or  a  classical  dictionary,  for 
further  details.  Which  of  these  three  names  would  be  the 
huntress's  name  referred  to  in  line  4  ? 

10.  unexpressive  she  :  the  adjective  "  unexpressive  "  means 
not  to  be  expressed,  incapable  of  being  described  in  words. 
The  pronoun  "  she  "  is  treated  practically  as  if  it  were  a  noun. 
The  objective  case  of  nouns,  remember,  is  the  same  as  the 
nominative.  Hence  the  form  she  may  easily  be  accounted  for. 
This  word  was  not  used  by  the  dramatist  with  any  humorous 
effect  or  intent.     Compare  "  he,"  line  414. 

15.    naught:   compare  I,  1,  38. 

21.    humor:   compare  "humorous,"  line  278  of  the  second 


ActIII.  Sc.  ii.]  NOTES  153 

scene  of  Act  I.  Search  for  the  exact  meanings  of  the  following 
words  in  the  passages  in  which  they  occur  :  natural,  34  ;  par- 
lous, 45  ;  in  respect  of,  67  ;  perpend,  69  ;  graff,  124  ;  medlar, 
125  ;  virtue,  127  ;  touches,  160  ;  scrip,  171  ;  whooping,  2o:; ; 
atomies,  245  ;  burden,  261  ;  se'nnight,  333  ;  cony,  356  ;  kindled, 
357  ;  courtship,  364  ;  taxed,  367  ;  point-device,  402  ;  still,  409  ; 
merely,  441. 

38.  ill-roasted  egg  :  in  what  respect  was  Corin,  according  to 
Touchstone,  like  an  egg  cooked  all  on  one  side  ? 

45.  parlous  state :  is  there  any  flaw  in  the  reasoning  by 
which  Touchstone  reaches  this  conclusion  ? 

62.  more  sounder :  have  you  ever  noticed  in  Shakespeare 
other  instances  of  double  comparison  ?  Recall  one  of  the  most 
familiar  quotations  from  Julius  Ccesar. 

73.    rest  damned  :  compare  line  44. 

91.  Here  comes :  does  Corin  seem  glad  to  change  the  sub- 
ject ?  Why  did  not  the  dramatist  let  the  conversation  continue 
for  some  time  further  ? 

92.  new  mistress's  brother:  in  line  92  of  Act  II,  Scene  4, 
Ganymede  was  the  one  who  arranged  for  the  buying  of  the  prop- 
erty. Why,  then,  is  he  referred  to  as  the  brother  of  Corin's  new- 
mistress,  rather  than  simply  as  new  master  ?  Possibly  a  hint  on 
the  question  may  be  found  by  a  comparison  with  Lodge  at  this 
point.  The  story  differs  in  Lodge's  novel,  for  there  it  is  not  the 
page  of  Aliena,  i.e.  Ganymede,  but  Aliena  herself  who  pur- 
chases the  sheep  and  the  farm.  Shakespeare,  having  changed 
the  position  of  the  disguised  Rosalind  from  a  page  or  servant  to 
a  brother  of  Aliena,  seems  nevertheless  to  follow  his  original  in 
making  Aliena  the  one  most  looked  up  to  by  Corin.    Still,  it  is 


154  NOTES  [Act  III.  Sc.  ii. 

possible  that  Corin's  reference  in  A.  Y.  L.  is  merely  his  trib- 
ute to  the  beauty  of  his  new  master's  sister. 

94.  jewel :  description  of  Rosalind  is  given  in  various  parts 
of  the  play.  It  is  worth  while,  as  an  exercise,  to  get  together 
these  different  bits  of  description.  The  reader  can  then  form  a 
distinct  idea  of  the  appearance  of  Rosalind,  and  will  be  able  to 
give  an  intelligent  opinion  about  the  fidelity  to  Shakespeare  of 
different  portraits  of  Rosalind  and  of  different  impersonations 
of  Rosalind  on  the  stage.  This  method  of  gaining  an  accurate 
visualization  of  characters  is  to  be  recommended  in  the  study  of 
any  play  or  novel.  With  this  systematic  study  one  will  be  able 
incidentally  to  detect  gross  departures  from  the  exact  state- 
ments of  the  text  in  the  illustrations  to  the  text  furnished  by 
numerous  illustrators  of  present-day  fiction.  Accurate  and 
thorough  study,  then,  of  the  appearance  of  Rosalind,  though 
likely  to  be  irritating  to  some  emotional  minds,  is  decidedly 
worth  while. 

Rosalind  is  described  much  more  fully  in  Lodge's  Bosalynde. 
Five  passages  where  Rosalind  is  described  are  here  brought  to- 
gether. What  does  Lodge  mention  that  Shakespeare  leaves  out  ? 
Does  Shakespeare  insert  anything  not  found  in  Lodge  ?  Are 
the  detailed  descriptions  of  Lodge  superior  to  the  short,  con- 
densed descriptions  of  the  dramatist  ?  Is  there  any  reason  why 
the  descriptions  in  the  play  should  be  less  extended  than  those 
in  the  novel  ? 

(a)  Rosader  (Orlando)  says  that  Rosalynde  is  a  diamond,  a 
pearl,  a  rose  ;  that  she  is  a  Daphne  ;  that  the  sweet  harmony  of 
the  birds  puts  him  in  mind  of  the  rare  melody  of  her  voice  ;  and 
that  her  sweet  eyes  "  stain  the  sun  in  shine." 


Act  III.  Sc.  ii.]  NOTES  155 

(6)  Engraved  with  a  knife  on  the  bark  of  a  tree  by  Rosader 
were  the  words,  "  Of  all  faire  maydes  my  Rosalynde  is 
fairest." 

(c)  "  As  every  mans  eye  had  his  several  survey,  and  fancie 
was  partial  in  their  lookes,  yet  all  in  general  applauded  the 
admirable  riches  that  Nature  bestowed  on  the  face  of  Rosa- 
lynde ;  for  uppon  her  cheeks  there  seemed  a  battaille  betweene 
the  Graces,  who  should  bestow  most  favour  to  make  her  excel- 
lent. The  blush  that  gloried  Luna,  when  she  kist  the  Shepheard 
on  the  hills  of  Latmos,  was  not  tainted  with  such  a  pleasant 
dye,  as  the  Vermilion  flourisht  on  the  silver  hue  of  Rosalynde's 
countenance :  her  eyes  were  lyke  those  Lampes  that  made  the 
wealthie  covert  of  the  Heavens  more  gorgious,  sparkling  favour 
and  disdaine  ;  courteous  and  yet  coye,  as  if  in  them  Venus  had 
placed  all  her  amorets,  and  Diana  all  her  chastitie." 

((7)  Three  of  the  nine  stanzas  entitled  "  Rosalyndes  Descrip- 
tion "  by  Rosader  are  quoted  as  giving  further  details  in  expan- 
sion of  the  topic  suggested  in  c,  the  description  of  the  face  of 
Kosalynde. 

"  Her  eyes  are  Saphires  set  in  snow, 
Refining  heaven  by  every  wincke  : 
The  gods  do  feare  when  as  they  glow, 
And  I  do  tremble  when  I  thinke  : 
Heigh  ho,  would  she  were  mine. 

"  Her  chekes  are  lyke  the  blushing  clowde 
That  bewtifies  Auroraes  face, 
Or  lyke  the  silver  crimsin  shrowde, 
That  Phoebus  smiling  lookes  doth  grace: 
Heigh  ho,  faire  Rosalynde. 


156  NOTES  [Act  III.  Sc.  ii. 

**  Her  lippes  are  like  two  budded  roses, 

Whome  ranckes  of  lillies  neighbour  nie, 
Within  which  bounds  she  balme  incloses, 
Apt  to  intice  a  Deitie  : 
Heigh  ho,  would  she  were  mine." 

(e)  "  The  tramelles  of  hei^  hayre,  foulded.  in  a  call  of  Golde, 
so  farre  surpast  the  burnisht  glister  of  the  mettal,  as  the  Sunns 
doth  the  meanest  Starre  in  brightness  :  the  tresses  that  f  oldes  in 
the  browes  of  Apollo  were  not  halfe  so  rich  to  the  sight,  for 
in  her  hayres  it  seemed  love  had  laid  herselfe  in  ambush,  to 
intrappe  the  proudest  eye  that  durst  gaze  uppon  their  excel- 
lence :  what  shoulde  I  neede  to  decipher  h'er  particular  beau- 
ties, when  by  the  censure  of  all,  shee  was  the  Paragon  of  all 
earthly  'perfection.'''' 

103.  right  butter-women's  rank  :  "  right "  means  true,  exact, 
downright.  Compare  lines  128  and  290.  Kegarding  the  mean- 
ing of  "rank,"  there  is  difference  of  opinion.  It  has  been 
conjectured  by  several  critics  that  just  as  in  our  day  pedlers 
sometimes  sing  verses  to  attract  customers,  so  in  Shakespeare's 
age  the  butter-women  held  their  places  in  the  market  according 
to  their  ability  to  compose  and  sing  doggerel  that  would  make 
known  the  merits  of  their  butter.  Touchstone,  then,  implies 
that  the  verses  he  is  criticising  are  no  better  than  the  doggerel 
of  the  butter-women.  Rolfe,  on  the  hand,  thinks  that  "  rank  " 
means  jog-trot.  The  whole  expression  thus  merely  has  to  do 
with  the  regular  motion  of  the  verses,  one  foot  plodding  along 
after  another.  Some  commentators  explain  "rank'"  as  mean- 
ing order  or  file.  With  this  understanding  of  the  word  one  of 
the  editors  translates  the  expression  substantially  as  follows : 


Act  III.  Sc.  ii.]  NOTES  157 

"  This  kind  of  verse  is  exactly  like  the  shuffling  gait  of  a  butter- 
woman's  nag  going  to  market." 

125.  medlar:  observe  the  pun  on  medlar  and  meddler.  A 
clipping  from  one  of  the  daily  papers  sufficiently  explains  the 
meaning  of  medlar:  "Eve's  apple  is  a  feature  of  the  seven- 
tieth fair  of  the  American  Institute,  which  opened  yesterday  at 
the  headquarters  in  the  Berkeley  Lyceum,  West  Forty-fourth 
Street.  As  befits  its  possibilities  for  discord,  it  is  known  as  the 
Medlar,  is  small  and  innocent  in  appearance,  and  eatable  only 
when  it  is  decayed.  Cornell  University  is  the  exhibitor  of  this 
rarity.  The  feminine  requests  for  '  just  one  bite,'  yesterday, 
almost  drove  the  management  to  despair."  The  thought  in  the 
following  extract  from  Lodge's  Bosalynde  appears  to  have  been 
closely  followed  by  Shakespeare,  "  '  I  grant,  Aliena,  many  men 
have  done  amisse,  in  proving  soone  ripe  and  soone  rotten,  but 
particular  instances  inferre  no  generall  conclusions.'  "  Again, 
in  "Adam  Spencer's  Speech,"  is  the  sentence,  "The  joys  of 
man,  as  they  are  few,  so  are  they  raomentarie,  scarce  ripe  before 
they  are  rotten.''^ 

153.  Helen's  cheek:  the  taking  of  Helen,  the  wife  of  Mene- 
laus,  by  Paris,  son  of  King  Priam,  was  the  occasion  for  the 
Trojan  war.  .Helen  was  given  to  Paris  by  the  goddess  Venus, 
who  had  promised  him  the  most  beautiful  woman  in  the  world. 

155.  Atalanta's  better  part:  perhaps  her  heels,  for  she  was 
particularly  swift-footed.  Compare  line  294.  An  allusion  to  this 
characteristic  of  Atalanta  will  be  found  in  Ticice-told  Tales, 
page  19,  line  10,  in  the  Pocket  Classics  series :  "  Their  foot- 
steps are  supported  by  the  risen  dust,— the  wind  lends  them 
its  velocity,  — they  fly  like  three  sea  birds  driven  landward  b\ 


.  to  '•- Atalaata'a  t- 
-.k»  Atalanta'a  '-.-■'-" 
il  eliarms. 


far 


i7&   feet  '  '  -ct  in  the 

wiithig  wbk: 

IM,  mne  ikay% :  a  reterence  to  the  familiar  expressioii,  "a 
nme  days'  woisder." 

186.  palm  tree :  compafe  m,  5,  75  and  IV,  3,  78.  See 
also  Introdaction,  page  xxxiv. 

187.  Irish  rat :  in  the  study  c>f  Bosalind's  sentence,  "  I  was 
never  so  be-rhymed  since  Pythagoras'  time,  that  I  was  an  Irish 
rat,  which  I  can  hardly  remember,"  class-room  exx>erience  has 
shown  that  fonr  things  need  comment :  — 

^1)  The  explanation  of  rat  is  easy.    ^lany  scholars  have 


Act  III.  Sc.  ii.]  NOTES  159 

written  about  the  ancient  superstition  that  rats  were  amenable 
to  exorcisms  and  that  a  house  could  be  freed  of  rats  if  proper 
verses  were  chanted  or  hung  up  about  the  building.  The  rats 
would  quickly  flee  or  die  in  their  tracks. 

(2)  Irish  is  not  more  difficult  to  explain  ;  in  Shakespeare's 
time  it  was  considered  a  good  joke  to  refer  to  the  beliefs  in 
magic  that  held  sway  in  crude,  partially  civilized  Ireland. 
There  is  another  hit  at  the  Irish  in  V,  2,  119. 

(3)  That,  too,  is  not  difficult,  for  it  is  evidently  used  in  the 
sense  of  when. 

(4)  Pythagoras'  time  is  harder  to  understand.  Light  is 
gained  here  by  a  reference  to  another  of  Shakespeare's  plays. 
In  Hie  Merchant  of  Venice^  IV,  1,  126-133,  we  read :  — 

**  Thou  almost  mak'st  me  waver  in  my  faith 
To  hold  opinion  with  Pythagoras, 
That  souls  of  animals  infuse  themselves 
Into  the  trunks  of  men :  thy  currish  spirit 
Governed  a  wolf,  who,  hanged  for  human  slaughter, 
Even  from  the  gallows  did  his  fell  soul  fleet, 
And,  whilst  thou  lay'st  in  thy  unhallowed  dam, 
Infused  itself  in  thee." 

Shakespeare  is  making  use  of  a  part  of  the  doctrine  of  trans- 
migration or  metempsychosis.  At  the  death  of  the  animal,  its 
soul  might  take  up  its  residence  in  a  human  body.  In  the  pas- 
sage from  The  Merchant  of  Venice,  Gratiano  says,  in  substance, 
that  he  is  almost  inclined  to  believe  in  the  truth  of  the  doctrine. 
He  thinks  that  the  soul  of  a  ravenous  wolf  must  have  moved 
into  the  body  of  Shylock,  even  before  Shylock  was  born. 
Similarly,  in  the  troublesome  lines  from  As  You  Like  It,  Rosa- 


160  NOTES  [Act  III.  Sc.  iL 

lind  suggests,  playfully,  that  at  one  time  her  soul  must  have 
dwelt  in  the  body  of  a  rat.  She  means  to  intimate  that  she 
never  was  the  subject  of  so  many  bits  of  poor  verse  since  the 
time  when  the  soul  which  is  now  in  her  was  in  the  body  of  a 
rat  that  was  rhymed  to  death.  Of  course,  the  expression  is  on 
her  part  purely  whimsical  or  jocular. 

193.  I  prithee,  who  :  asked  in  real  ignorance  ? 

194.  for  friends  to  meet :  Celia  is  making  use  of  the  old  say- 
ing, "  Friends  may  meet,  but  mountains  never  greet." 

203.  out  of  all  whooping  :  w^hat  was  it  that  Celia  considered 
most  wonderful  and  out  of  all  whooping  ? 

204.  Good  my  complexion :  Dr.  Furness  writes,  "  Since,  in 
this  case,  in  the  interpretation  of  the  original  text,  there  is  no 
aid  to  be  gained  from  the  wise,  in  Archaeology,  Etymology,  or  Syn- 
tax, we  simple  folk  may  make  what  meaning  we  please  for  our- 
selves, or  else  pick  out  one  from  the  foregoing,  or  combine  them 
all."  Two  of  the  attempted  explanations  which  he  cites  are  : 
"That  is,  my  native  character,  my  female  inquisitive  disposi- 
tion, canst  thou  endure  this  ?  "  and  "  It  is  a  little  unmeaning 
exclamatory  address  to  her  beauty  ;  in  the  nature  of  a  small 
oath." 

207.  South-sea  of  discovery  :  this  is  probably  humorous  ex- 
aggeration, in  which  South-sea  is  referred  to  rather  than  any 
other  sea,  because  it  happened  to  pop  into  Shakespeare's  head 
and  seemed  to  him  far  away,  yet  sufficiently  familiar  to  his 
audience  because  of  the  many  exploring  ventures  of  the  time. 
It  is  only  fair  to  add,  however,  that  one  Shakespeare  scholar 
calls  the  passage  "painfully  obscure";  and  that  others 
explain  "  of  discovery  "  as  meaning  "  off  discovery  "  and  parar 


Act  hi.  Sc.  ii.]  iTOfE^  l6l 

phrase  as  follows,  "A  South-sea  of  discovery  is  a  discovery  a 
South*-sea  off  —  as  far  off  as  the  South-sea." 

226.  sad  brow  and  true  maid :  evidently  a  current  expres- 
sion used  when  a  person  wished  another  to  stop  joking  and 
speak  truly  and  soberly.  Sad  often  means  sober  in  Shake- 
speare. Perhaps  parallel  with  the  expression  of  one's  child- 
hood, "cross  your  heart,"  which,  by  the  way,  one  did  not 
understand  at  all  then  in  its  real  significance. 

238.  Gargantua's  mouth  :  for  a  good  explanation  of  this  see 
Century  Dictionary  of  Names. 

249.    Jove's  tree  :  the  oak  was  sacred  to  Jove. 

260.  my  heart :  observe  the  pun.  Celia  says  that  Orlando 
was  furnished  like  a  hunter.  AVhat  animal  might  he  be  intend- 
ing to  hunt  the  name  of  which  would  sound  exactly  like  heart  f 

261.  burden:  see  Murray,  "The  bass,  'undersong,'  or  ac- 
companiment."    This  line  is  cited  by  Murray  in  illustration. 

264.  I  must  speak :  is  Rosalind  fair  to  her  sex  in  this  state- 
ment ?     Compare  IV,  1,  205. 

266.  slink :  what  is  gained  by  the  use  of  so  specific  a  word 
as  this  ? 

286.  as  my  heart:  from  this  statement  and  other  details 
about  Rosalind's  height,  what  can  you  conjecture  about  the 
height  of  Orlando  ? 

289.  conned  them  out  of  rings  :  does  the  pronoun  "  them" 
refer  to  wives  or  to  answers  ?  Love  posies  or  amatory  lines  of 
poetry  for  rings  were  abundant  and  popular  at  the  end  of  the 
sixteenth  century.  Murray  defines  con  as  "  To  get  to  know,  to 
study  or  learn  ;  to  commit  to  memory." 

290.  right  painted  cloth:  that  is,  sententiously.     On  hang. 


1()2  NOTEB  [Act  III.  Sc.  a 

mgs  or  painted  cloths  were  to  be  found  sententious  sayings  and 
proverbs.  The  house  of  Robert  Arden,  father  of  Shakespeare's 
wife,  was  adorned  by  "eleven  painted  cloths,  which  then  did 
duty  for  tapestries  among  the  middle  class,"  See  Lee's  Life  of 
Shakespeare^  page  7. 
294.   Atalanta's  heels :  compare  line  155. 

305.  look  but  in  :  paraphrase  this  to  bring  out  the  idea  which 
you  get  from  it. 

306.  shall :  comment  on  the  use  of  this  verb. 
312.   Monsieur  Melancholy :  compare  II,  1,  26. 

326.  By  no  means,  sir :  what  is  the  purpose  of  this  colloquy  ? 
Is  it  entertaining  ?  Is  it  natural  ?  Does  it  advance  the  plot  ? 
Does  it  help  to  show  the  character  of  Rosalind  and  Orlando  ? 

344.  ambles  withal :  note  that  in  the  shorter  replies  telling 
with  whom  time  gallops  and  with  whom  it  stays  still  Rosalind 
does  not  make  complete  sentences.  Why  does  she  end  the 
speech  which  begins  "  With  a  priest"  by  filling  out  a  complete 
sentence,  "these,  Time  ambles  withal  "  ? 

352.  pretty  youth :  would  this  probably  have  offended  Gany- 
mede if  he  had  been  really  a  man  ?     Compare  III,  5,  113. 

362.  religious  uncle :  Rosalind's  clever  fiction  about  her 
uncle  is  one  of  her  best  inventions.  "  Religious"  uncle  means 
uncle  who  devoted  himself  to  religion,  i.e.,  who  was  a  priest  or 
minister.  In  Lodge  more  details  are  given  concerning  the  skill 
in  necromancy  of  him  by  whom  she  alleges  that  she  was  taught. 

373.  his  :  find  other  similar  uses  of  personal  pronouns  where 
the  form  at  the  present  day  would  be  impersonal. 

381.  deifying  :  look  up  the  verses  where  she  is  compared 
with  various  goddesses. 


Act  III.  Sc.  iii.]  NOTES  163 

385.  love-shaked:  Rosalind's  "quotidian"  suggests  to  Or- 
lando the  idea  of  some  kind  of  fever.  How  does  the  word 
"quotidian"  come  to  suggest  a  fever? 

893.  unquestionable  spirit :  a  spirit  that  will  not  stand  being 
questioned  ;  irritable,  impatient. 

402.  point-device  :  that  is,  with  great  nicety  or  exactitude ; 
with  finical  care. 

406.  Me  believe  it :  the  directness  of  Rosalind  is  beautifully 
simple  and  natural.     Compare  with  "You  a  lover,"  IV,  1,  40. 

420.  merely:  see  Franz,  §  241  :  ^'Merely  hat  noch  entspre- 
chend  dem  Adjectiv  mere  '  complete,  utter,  absolute '  den  dem 
Etymon  merus  '  rein '  nahe  stehenden  Sinn  von  '  quite,  abso- 
lutely.' " 

438.  that :  so  that. 

452.   by  the  way  :  along  the  way. 

Scene  III 

6.   what  features :  observe  the  pun. 

8.  honest  Ovid :  who  was  Ovid  ? 

9.  the  Goths :  to  readers  of  the  present  day  the  pun  is  not 
obvious,  because  we  sound  the  h  in  "  Goths."  If,  however,  the 
word  is  pronounced  without  the  A,  it  may  be  in  sound  exactly 
like  goats.  Thus  the  pun  becomes  plain— to  be  sure,  a  far- 
fetched pun  in  our  ears.  In  a  history  of  Italy  printed  in  the 
year  1561,  the  word  Goths  appears  in  the  form  Gotes. 

11.  Jove  in  a  thatched  house:  the  reference  is  to  the  enter- 
tainment of  two  gods,  Jove  and  Mercury,  by  a  pious  rustic, 
Philemon,  and  his  wife,  Baucis,  in  their  humble  thatched  hut. 
Because  of  this  hospitality  the  poor  hut  of  the  peasants  waa 


164  NOTES  [Act  III.  Sc.  iii. 

transformed  into  a  temple.  Those  who  are  studying  Latin  will 
enjoy  looking  up  the  story  in  the  eighth  book  of  Ovid's  Meta- 
morphoses, lines  620-724.  The  particular  lines  which  suggested 
Shakespeare's  words  '•  thatched  house  "  are  lines  628-630 :  — 

*'  mille  domos  adiere,  locum  requiemque  petentes: 
mille  domos  clausere  serae.  Tamen  una  recepit, 
parva  quidem,  stipulis  et  canna  tecta  palustri." 

The  editor  ventures  to  translate  this  passage,  freely,  "  They 
came  up  to  a  thousand  houses,  seeking  a  place  to  rest ;  the 
doors  of  a  thousand  houses  banged  in  their  faces.  Nevertheless, 
one  house  took  them  in,  a  little  house  to  be  sure,  thatched  with 
straw  and  reeds  from  the  swamp."  There  is  another  reference 
to  Jove  in  III,  2,  249- 

15.  great  reckoning :  Touchstone  says  in  substance  that  if 
one's  verses  cannot  be  understood,  or  if  one's  wit  is  not  intel- 
ligible to  the  hearer,  one  is  staggered  as  much  as  he  would  be 
by  receiving  a  large  bill  for  inferior  hotel  accommodations. 
Furness  quotes,  as  an  admirable  paraphrase,  the  following  from 
Moberly,  "  To  have  one's  poetry  not  understood  is  worse  than 
the  bill  of  a  first-class  hotel  in  a  pot-house." 

39.  foul:  compare  III,  5,  62,  and  6Q.  The  word  "foul" 
has  two  distinct  meanings,  given  in  Murray's  Xew  English  Dic- 
tionary :  — 

(1)  soiled,  dirty,  unclean.  By  way  of  illustrating  this  mean- 
ing of  the  word,  Murray  quotes  a  passage  from  A.  T.  L. 
II,  7,  60,  "the  foul  body  of  the  infected  world,"  where  the 
sense  of  foul  evidently  =  tainted  with  disease,  charged  with 
offensive  matter. 


ActIII.  Sc.  iv.]  NOTES  165 

(2)  not  fair,  z.e.  homely,  plain,  ugly,  unattractive.  A  quo- 
tation from  an  early  writer,  Langland,  in  his  Piers  Ploughman. 
will  illustrate  this  sense  of  the  word:  "  Thenne  tok  ich  hede. 
Whether  the  fruit  were  faire  other  foul  to  loken  on  "  =  "  Then 
I  took  heed  whether  the  fruit  was  fair  or  unattractive  to  look 
at."  The  second  meaning  is  the  one  which  fits  the  context  in 
line  39  ;  the  first,  in  line  35. 

43.  Martext :  what  humorous  suggestion  is  there  in  the  name 
of  this  vicar  ? 

47.  the  gods  give  us  joy :  Furness  conjectures  that  this  ex- 
clamation of  Audrey  indicates  that  she  considered  the  match 
firmly  concluded.  The  formula  was  one  used  to  clinch  an 
engagement.  In  the  Henrietta  Crosman  performance  of  the 
play,  Audrey  repeats  the  words  a  dozen  or  more  times.  The 
exclamation  thus  becomes  a  particularly  characteristic  part  of 
the  scene,  and  helps  to  bring  out  the  contrast  between  Audrey, 
whom  Verplanck  calls  only  a  rustic,  and  Phebe,  whom  he  de- 
scribes as  an  Arcadian  coquette. 

73.  What-ye-cairt :  such  expressions  as  this,  striking  the 
reader  with  *surprise  because  seemingly  so  modern,  may  occa- 
sionally be  found  in  Shakespeare  and  other  early  writers  of 
English.     Compare  IV,  1,  123. 

78.    be  covered  :  why  had  the  vicar  uncovered  ? 

109.    out  of  my  calling :  what  does  "  calling  "  mean  here  ? 

Scene  IV  . 
7.    dissembling  color:  this  is  to  be  explained  in  connection 
with  Celia's  answer  in  which  she  mentions  Judas.   Judas's  hair, 
according  to  tradition,  was  red.     Some  one  has  said  tliat  a  red 


166  NOTES  [Act  III.  Sc.  iv. 

beard  was  considered  an  infallible  token  of  a  vile  disposition. 
In  a  German- Latin  poem  of  about  1020  a.d.,  there  is  a  maxim 
which  may  be  translated,  "  Don't  put  your  faith  in  a  red- 
head." See  the  New  Testament  for  an  explanation  of  Judas's 
kiss. 

12.  chestnut :  where  else  is  the  color  of  Rosalind's  hair  re- 
ferred to  ? 

16.  cast  lips :  kisses  from  the  lips  of  a  statue  of  Diana  would 
naturally  be  cold  ;  the  "  ice  "  of  chastity  might  well  be  in  them. 
Some  editors,  however,  read  chaste  instead  of  cast.  Furness  is 
quite  emphatic  in  his  assertion  that  cast  must  be  a  mere  pho- 
netic spelling  of  chaste,  or  else  an  outright  misprint  for  that 
word.  He  says  that  an  allusion  to  her  chastity  is  almost  in- 
separable from  Diana.  Murray,  however,  quotes  this  passage 
in  his  dictionary  under  the  word  cast  =  thrown  off,  disused, 
worn  out,  abandoned,  forsaken,  generally  written  now  "cast 
off." 

26.  concave  as  a  covered  goblet :  concave  means  hollow,  as 
explained  by  Murray.  A  goblet  was  kept  covered  only  when  it 
was  empty,  so  that  a  "covered  goblet"  would  necessarily  be 
empty  or  hollow  or  concave.  Celia  says,  then,  in  effect,  that 
Orlando  is  not  to  be  depended  on  in  love  ;  his  professions  are 
hollow. 

33.  was :  Celia's  play  on  the  past  tense  used  by  Rosalind  is 
effective.     We  often  hear  this  same  retort  nowadays, 

41.    what :  explained  by  Franz,  §  209,  as  meaning  why. 

45.  traverse:  see  the  eighth  chapter  of  Ivanhoe^  where 
Grantmesnil  is  fighting  in  the  tournament. 

62.   who :  comment  on  the  grammar. 


Act  III.  Sc.  v.]  NOTES  167 

62.  busy  actor:  do  you  conjecture  how  she  intends  to  act 
on  hearing  the  conversation  of  the  shepherd  and  the  shep- 
herdess ? 

Scene  V 

5.   Falls  :  used  transitively.      Paraphrased :  The  executioner 

lets  not  the  axe  fall  upon  the  humbled  neck  without  first  beg- 
ging pardon. 

13.  atomies :  consult  dictionary  for  this  and  for  cicatrice  and 
capable  impressure,  23  ;  bugle,  47  ;  proper,  55 ;  carlot,  108. 

26.  Nor :  double  negative.  Where  else  are  there  instances 
of  this? 

27.  That  can  do  hurt :  observe  that  this  clause  modifies 
"force,"  not  "eyes." 

37.  no  beauty :  Kosalind  is  making  fun  of  Phebe.  Conse- 
quently, it  is  not  necessary  to  change  "no"  to  some,  as  is 
done  by  various  editors.  One  commentator,  in  justifying  his 
change  of  the  text  to  some,  suggested  that  a  careless  compositor 
of  the  folio  edition  caught  the  word  "  no  "  from  the  next  line. 

43.  nature's  sale-work :  things  made  to  order  are  supposed 
to  be  finished  more  carefully  than  those  made  for  sale  to  any 
comer. 

47.  cheek  of  cream:  the  specific  language  in  Rosahnd's 
description  of  Phebe  is  worthy  of  comment.  Phebe  appears 
to  better  advantage  in  Lodge.  There  she  is  described  as  the 
fairest  shepherdess  in  all  Arden,  clothed  "in  a  petticote  of 
scarlet,  covered  with  a  green  mantle,  and  to  shrowd  her  from 
the  Sunne,  a  chaplet  of  roses,  from  under  which  appeared  a 
face  full  of  Nature's  excellence,  and  two  such  eyes  as  mighl 


168  NOTES  [Act  III.  Sc.  v. 

have  amated  a  greater  man  than  Montanus  (Silvius)."  Again, 
in  the  Lodge  story,  Montanus  makes  a  bit  of  verse  in  which  he 
speaks  of  Phebe's  brow  as  white,  and  her  eye  as  coy,  though 
mild  and  dovelike. 

50.  foggy  south  :  south  winds  in  England  are  often  accom- 
panied by  fog  and  wind  and  rain. 

62.  Foul  is  most  foul :  that  is,  the  ugly  or  homely  seem  most 
ugly  when,  though  ugly,  they  are  scornful.  Compare  III, 
3,  39. 

75.   tuft  of  olives  :  compare  III,  2,  186. 

82.  Dead  shepherd  :  Marlowe,  a  dramatist  of  the  Elizabethan 
period. 

"  *  Who  ever  loved  that  loved  not  at  first  sight?  '  " 

is  a  line  taken  from  Marlowe's  Hero  and  Leander,  which  was  first 
published  in  1598.  Guided  by  the  insertion  of  this  line  from 
Marlowe,  and  by  one  or  two  other  considerations,  commentators 
have  concluded  that  A.  Y.  L.  was  probably  written  in  1599. 

83.  at  first  sight:  compare  "  Is 't  possible  that  on  so  little 
acquaintance  you  should  like  her  ?  that  but  seeing  you  should 
love  her  ?  "  line  2  of  Act  V,  Scene  2.  In  Lodge's  Bosalynde, 
Rosader  (Orlando)  and  Saladyne  (Oliver)  love  "at  first  sight" 
just  as  they  do  in  A.  T.  L. 

86.  relief  would  be  :  observe  the  connection  between  Silvius's 
speech  and  Phebe's.  Phebe  expresses  sympathy  with  Silvius, 
and  he  replies  that  when  any  one  feels  real  sympathy  that  per- 
son has  a  desire  to  relieve  the  sorrow.  Silvius  proceeds  to  tell 
Phebe  how  she  can  relieve  his  sorrow. 

90.  Thou  hast  my  love  :  Phebe  is  less  yielding  in  Bosalynde ; 
she  tells  Montanus  (Silvius)  that  she  "  cannot  love  at  all." 


Act  hi.  Sc.  v.]  NOTES  169 

113.   pretty  youth  :  compare  III,  2,  352. 

118.  not  very  tall :  are  the  references  to  Rosalind's  height 
all  consistent  ?     Compare  I,  2,  28-4. 

125.  In  parcels  :  the  descriptions  of  Rosalind  and  Phebe  in 
Rosalynde  may  be  accurately  characterized  as  "in  parcels." 
Observe,  for  example,  this  detailed  description  of  Ganymede  by 
Phebe,  "  She  called  to  mynd  the  several  bewties  ofyoong  Gani- 
mede :  first,  his  lockes,  which  being  amber  hued,  passeth  the 
wreathe  that  Phoebus  puts  on  to  make  his  front  glorious :  his 
browe  of  yvorie,  was  like  the  seate  where  Love  and  Majestic 
sits  inthronde  to  enchaine  Fancy  [Love]  ;  his  eyes  as  bright  as 
the  burnishing  of  the  heaven,  darting  forth  frowns  with  dis- 
daine,  and  smiles  with  favour,  lightning  such  lookes  as  would 
enflame  desire,  were  she  wrapt  in  the  Circle  of  the  frozen  Zoane  : 
in  his  cheekes  the  vermillion  teinture  of  the  Rose  flourished  upon 
naturall  Alabaster,  the  blushe  of  the  Morne  and  Lunaes  silver 
showe  were  so  lively  pourtrayed,  that  the  Troyan  that  filles  out 
wine  to  Jupiter  was  full  of  pleasance,  and  al  the  rest  of  his 
liniaments  proportioned  with  such  excellence,  as  Phcebe  was 
fettred  in  the  sweetnes  of  his  feature." 

133.  omittance  is  no  quittance  :  merely  a  catch  phrase,  the 
sense  of  which  is  obvious.  Phebe  says  that  the  fact  that  she 
did  not  answer  back  does  not  indicate  that  she  will  not  do  so  at 
some  time.     She  now  proposes  to  write  a  tart  letter. 


170  NOTES  [Act  IV.  Sc.  1. 

ACT   IV 
Scene  I 

1.   pretty  youth :  who  before  has  called  Kosalind-Ganymede 

a  pretty  youth  ? 

3.   melancholy:  compare- II,  1,  41. 

7.  censure  :  does  the  word  here  have  the  same  meaning  as  in 
line  199  ? 

10-20.  I  have  neither,  etc.:  one  of  the  editors  thinks  that 
these  ten  lines,  printed  here  as  prose,  are  really  blank  verse. 
Can  you  divide  the  passage  into  lines  of  poetry  ? 

15.  nice  :  not  the  colorless  word  of  present-day  talk.  What 
does  '•  nice  melancholy  "  mean  ? 

23.    lands  :  that  is,  property  or  real  estate. 

28.  had  rather:  a  good  old  English  idiom.  The  purist, 
however,  asserts  that  "  would  rather  "  is  a  preferable  form. 

31.  God  buy  you :  collect  similar  expressions  in  the  play, 
an:  frequently  used  instead  of  "  if." 

32.  blank  verse  :  scan  Orlando's  greeting,  which  Jaques  calls 
"  blank  verse."  Blank  verse,  in  the  strict  sense,  is  iambic  pen- 
tameter, unrhymed. 

40.    all  this  while  :  compare  III,  4,  20. 

49.  o'  the  shoulder  :  an  arrow  of  Cupid,  Eosalind  says,  may 
have  slightly  wounded  Orlando  on  the  shoulder ;  but  his  heart 
has  not  been  pierced. 

67.  leer  :  the  word  as  used  by  Shakespeare  was  of  a  broader 
significance  than  now.  See  Kluge  and  Lutz's  English  Etymol- 
ogy, which  should  be  in  the  school  library,  for  the  original 
meaning  of  leer. 


ActIV.  Sc.  i.]  irOTES  171 

81.    new  matter  :  that  is,  a  new  subject  for  conversation. 

97.  Troilus:  the  club  by  which  Troilus  died  appears  to  be 
pure  invention  on  Rosalind's  part,  for  Troilus  was  killed  by 
Achilles*  spear.  Try,  by  diligent  searching  of  a  classical  dic- 
tionary, to  find  out  whether  the  other  allusions  are  similarly 
inventions  of  the  author.     Did  Leander  die  of  cramp  ? 

100.  Leander,  he :  do  not  model  your  speech  after  Shake- 
speare in  this  usage. 

111.  not  kill  a  fly:  compare  the  talk  between  Silvius  and 
Phebe.     Had  Rosalind  heard  this  conversation  ? 

119.  Ay:  see  Franz,  §251,  "  Wahrscheinlich  ist  es  eine 
dialektische  Variante  von  ay,  a?/e  =  'immer'  (gespr.  e^);  der 
Bedeutungswandel  von  '  immer'  zu  '  ja'  hat  nichts  Auffalliges." 

123.  too  much  of  a  good  thing  :  see  note  on  "  Master  What- 
ye-call't,"  III,  3,  73. 

124.  you  shall  be  the  priest :  in  Lodge's  story  there  is  what 
is  called  a  "  courting  eclogue,"  proposed  by  Ganimede  in  sport. 
While  Ganimede  and  Rosader  (Orlando)  are  carrying  on  their 
pretended  courting,  Aliena  (Celia)  plays  them  a  melody  on  her 
pipe.  At  the  end  of  the  courting  scene,  the  narrative  is  contin- 
ued thus  :  "And  thereupon  (quoth  Aliena)  He  play  the  priest. 
From  this  day  forth  Ganimede  shall  call  thee  husband,  and  thou 
Shalt  cal  Ganimede  wife,  and  so  weele  have  a  marriage.  Con- 
tent (quoth  Rosader),  and  laught.  Content  (quoth  Ganimede), 
and  chaunged  as  red  as  a  rose  :  and  so  with  a  smile  and  a  blush, 
they  made  up  this  jesting  match,  that  after  proved  a  marriage 
in  earnest :  Rosader  fuU  liitle  thinking  hee  had  wooed  and 
woonne  his  Rosalynde."  How  Ijas  the  dramatist  improved  on 
the  novelist  ?     Or,  do  you  like  the  story  told  in  Lodge's  quamf 


172  NOTES  [Act  IV.  Sc.  I 

language  better  than  that  presented  in  Shakespeare's  play? 
Why  is  this  mock  marriage  a  particularly  good  element  of  com- 
edy in  A.  Y.  L.  ? 

130.  Go  to :  Celia  appears  to  resent  Rosalind's  implication 
that  she,  Celia,  is  unfamiliar  with  the  marriage  formula. 

138.  your  commission  :  to  whom  does  Rosalind  address  this 
remark  ? 

155.  Diana  in  the  fountain  :  there  are  several  references  in 
writers  of  the  time  to  statues  of  Diana  ornamenting  fountains. 
Some  critics  think  that  Shakespeare  alludes  to  a  specific  foun- 
tain, in  which  water  was  conveyed  through  an  image  of  Diana 
in  such  a  way  as  to  give  the  figure  the  appearance  of  weep- 
ing. 

180.  two  hours  :  observe  the  time  element.  This  promise  of 
Orlando's  opens  the  way  for  new  complications  of  the  plot,  for 
new  reproaches  by  Rosalind  if  Orlando  shall  fail  to  keep  his 
promise.     What  are  these  new  developments  ? 

205.  misused  our  sex  :  has  Rosalind  misused  her  sex  ?  Com- 
pare III,  2,  264. 

210.    fathom  :  is  this  word  singular  or  plural  ? 

212.  bay  of  Portugal :  this  need  not  be  taken  as  an  allusion 
to  the  unfathomable  depth  of  a  Portuguese  bay  ;  perhaps  Rosa- 
lind simply  happened  to  think  of  this  body  of  water  on  the  spur 
of  the  moment.  Her  point  is  obvious  enough.  Still,  one  of  the 
editors  has  stumbled  upon  a  reference  to  "  the  bay  of  Portugal  " 
in  a  letter  written  by  Sir  Walter  Raleigh.  The  bay  is  "  off  the 
coast  of  Portugal  from  Oporto  to  the  headland  of  Cintra,"  and 
is  extremely  deep.  It  is  possible,  therefore,  that  the  dramatist 
did  really  have  a  specific  body  of  water  in  mind. 


Act  IV.  Sc.  ii.]  NOTES  I73 

219.  blind  rascally  boy:  Cupid.  Compare  line  48.  The 
reference  is  taken  almost  directly  from  Lodge. 

224.  I'll  sleep  :  an  admirable  ending  for  the  scene,  contrast- 
ing Rosalind's  flurried  spirits  with  the  calm  indifference  of 
Celia.  Do  you  see  how  the  scene  would  close  on  the  stage  ? 
Describe  the  picture  that  is  in  your  mind,  and  then,  if  you  ever 
see  the  play  given  by  a  first-rate  company,  observe  whether 
your  idea  of  the  situation  is  the  same  as  that  of  the  actors.  See 
note  on  II,  6,  17. 

Scene  II 

1.  killed  the  deer  :  another  example  of  a  scene  which  begins 
abruptly,  letting  the  reader  by  implication  into  the  midst  of  a 
situation.  What  has  this  scene  to  do  with  the  story  or  plot? 
Does  the  scene  create  an  attitude  of  suspense  in  the  reader  ? 
The  following  extract  from  the  "  Memorial  Theatre  Edition  "  of 
Shakespeare  is  of  interest  in  connection  with  this  part  of  the 
play  :  "On  the  occasion  of  the  first  representation  of  As  You 
Like  It  in  the  Memorial  Theatre,  30  April,  1879,  there  was 
carried  on  the  stage  by  the  foresters  a  fallow  deer  which  had 
been  that  morning  shot  by  H.  S.  Lucy,  Esq.,  of  Charlecote 
Park,  out  of  the  herd  descended  from  that  upon  which  Shake- 
speare is  credited  with  having  made  a  raid  in  his  youth.  The 
deer  is  now  stuffed,  and  carried  on  whenever  the  play  is  acted 
at  Stratford." 

14.  The  rest  shall  bear  this  burden  :  compare  note  on  III,  2, 
261.  Commentators  are  divided  upon  the  question  whether  it  is 
better  to  include  these  words  in  the  song  itself,  or  to  print  them 
as  a  stage  direction. 


174  NOTES  [Act  IV.  Sc.  iil 

Scene  III 

2.  much  Orlando  :  the  impatience  of  Rosalind  is  brought 
out  extremely  well  by  this  ironical  ejaculation.  Compare  note 
on  "  Me  believe  it,"  III,  2,  406.     See  also  IV,  1,  40. 

6.  fair  youth:  compare  "pretty  youth"  of  a  preceding 
scene. 

14.  bear  this  :  that  is,  if  one  can  submit  to  this,  one  can 
submit  to  anything. 

16.  that  she  could :  notice  the  grammatical  incoherence  of 
the  sentence.  What  does  the  clause  depend  upon  ?  Is  there 
anything  in  the  situation  itself  to  warrant  this  incoherence  ? 

17.  phoenix:  this  fabulous  bird  is  referred  to  several  times 
in  Lodge.  A  good  many  insurance  companies  are  now 
called  "  Phoenix."  In  a  recent  issue  of  an  insurance  journal, 
for  instance,  there  were  advertisements  of  half  a  dozen  com- 
panies with  this  name.  What  is  the  point  in  calling  a  fire 
insurance  company  "  Phoenix"  ? 

48.  no  vengeance :  compare  Lodge :  "  Hitherto  mine  eyes 
were  adamants  to  resist  love." 

49.  a  beast :  the  interjected  comments  of  Rosalind-Ganymede 
add  much  to  the  humor  of  the  situation.  Phebe  says  that  she 
could  not  be  harmed  while  the  eyes  of  a  mere  man  wooed  her. 
Rosalind  wilfully  perverts  this  to  a  suggestion  that  Phebe  would 
imjjly  that  Rosalind  is  not  a  man,  but  a  teast. 

50.  eyne  :  the  First  Folio  has  a  different  spelling,  "eine." 
Under  the  word  eye^  Murray  gives  the  archaic  plural  with  the 
spelling  "  eyne." 

53.   mild  aspect :   notice  the  two  things  contrasted  in  lines 


Act  IV.  Sc.  iii.]  NOTES  175 

53  and  54.  What  words,  in  reading  the  passage  aloud,  should 
be  especially  stressed  to  bring  out  the  contrast  ?  Similarly  ex- 
amine the  next  couplet. 

58.    by  him  seal  up  :  that  is,  send  your  reply  by  him. 

78.  olive  trees  :  in  Lodge  the  reference  to  trees  is  the  same, 
Ganimede  and  Aliena  "  sate  them  doune  under  an  olive  tree." 

88.  ripe  sister :  Lettsom,  quoted  by  Furness,  emends  to 
"right  forester."  Wright,  however,  retains  the  folio  reading 
and  explains  thus,  "  The  meaning  must  be  that  Rosalind, 
though  in  male  attire  and  acting  the  part  of  a  brother,  was  in 
her  behavior  to  Celia  more  like  an  elder  sister." 

89.  browner  :  where  else  is  Celia  described  ?  In  staging  the 
play,  is  it  important  that  Celia  should  have  the  make-up  of  a 
brunette  ? 

101.  Within  an  hour  :  as  a  matter  of  fact,  within  what  time 
did  he  really  promise  to  return  ?    Compare  IV,  1,  180. 

105.  Under  an  oak :  what  other  kinds  of  trees  grew  in  the 
forest  of  Arden  ?  What  indication  of  the  geographical  situation 
of  the  forest  may  be  found  in  the  various  references  to  trees  ? 

112.  it  :  note  the  two  different  pronouns  referring  to  the 
gilded  snake. 

115.  lioness  :  in  Lodge  it  is  a  hungry  lion  that  is  couching 
near  Orlando.  The  novelist  makes  the  assertion  that  "  Lyons 
hate  to  pray  on  dead  carkasses."  Compare  V,  2,  26,  "  claws  of 
a  lion." 

117.  When  that  :  collect  illustrations  of  Shakespeare's  use  of 

double  conjunctions. 

128.  Twice  :  Shakespeare  has  departed  slightly  from  his  orig- 
inal in  this  detail.     Rosader  turned  his  back  only  once.     He 


176  NOTES  [Act  IV.  Sc.  iil 

thought  to  himself  that  here  was  an  opportunity  to  let  his  enemy- 
die,  and  thus  gain  his  property.  Then  he  meditated  as  follows, 
"  Loose  not  his  life,  Rosader,  to  win  a  worlde  of  treasure  ;  for  in 
having  him  thou  hast  a  brother,  and  by  hazarding  for  his  life, 
thou  gettest  a  friend,  and  reconcilest  an  enemie  ;  and  more  hon- 
our Shalt  thou  purchase  by  pleasuring  a  foe,  than  revenging  a 
thousand  injuries."  The  story  of  how  he  interfered  to  save  his 
brother's  life  is  about  the  same  in  Eosalynde  as  in  A.  Y.  L. 
Saladyne  began  to  stir  uneasily  in  his  sleep,  and  the  lion  roused 
himself  for  a  spring.  Rosader  struck  out  valiantly  with  a  boar 
spear,  whereupon  the  lion,  mortally  hurt,  leapt  at  Rosader  and 
"  gave  him  a  sore  pinch  on  the  brest." 

139.    bloody  napkin :  this  incident  is  not  in  the  Lodge  story, 

141.  recountments :  observe  the  quaint  style  of  the  parallel 
passage  from  Eosalynde^  "Much  adoo  there  was  betweene 
these  two  brethren,  Saladyne  in  craving  pardon,  and  Rosader 
in  forgiving  and  forgetting  all  former  injuries;  the  one  sub- 
misse,  the  other  curteous  ;  Saladyne  penitent  and  passionate, 
Rosader  kynd  and  loving  ;  that  at  length  Nature  working  an 
union  in  their  thoughts,  they  earnestly  embraced,  and  fell  from 
matters  of  unkindnesse,  to  talk  of  the  Country  life,  which 
Rosader  so  highly  commended,  that  his  brother  began  to  have 
a  desire  to  taste  of  that  homely  content." 

143.  gentle  Duke  :  remember,  Orlando  excused  himself  in  the 
first  scene  of  this  act  because  he  had  to  attend  the  Duke  at 
dinner. 

146.  his  cave :  the  idyllic  nature  of  the  forest  life  appears 
plainly  from  such  references  as  this  to  the  primitive  habitations 
of  the  persons  in  the  forest. 


Act  V.  Sc.  i.]  NOTES 


177 


153.   sent  me  hither  :  \vhy  did  not  Orlando  come  himself  p 
155.    napkin  :    handkerchief.     Do  you  recall  the  use  of  the 
word  napkin  by  Antony  in  his  speech  over  the  body  of  Csesar  ? 
Compare  also  Lover's  Complaint,  15  :  "  Oft  did  she  heave  her 
napkin  to  her  eyne." 

183.  my  counterfeiting  :  worthy  of  all  admiration  is  Rosa- 
lind's exquisite  womanliness  in  this  scene,  and  at  the  same  time 
her  astonishingly  quick  return  to  a  sense  of  what  the  part  she 
was  playing  demanded  of  her.  Yet  does  she  really  succeed  in 
making  Oliver  believe  the  swoon  counterfeit  ? 

ACT   V 

Scene  I 

4.  old  gentleman's  saying  :  compare  lines  85-90  of  the  third 
scene  of  Act  III. 

12.  clown  :  Touchstone  was  himself  by  profession  a  motley 
or  clown .  What  does  he  mean  by  calling  William  disparagingly 
a  clown  ? 

13.  we  shall  be  flouting  :  shall  =  must,  will  be  obliged  to. 
Compare  I,  1,  134.  Flout  =  jeer  at,  mock  at.  Compare  I,  2, 
49,  and  III,  3,  109. 

28.    so  so  :  see  note  on  IV,  1,  123. 

37.  eat  a  grape :  William,  on  the  stage,  stands  with  open 
mouth,  gazing  at  Audrey.  Touchstone  is  impelled  to  tell  him 
that  Audrey  is  not  a  grape  for  his  lips.  See  Lodge,  "Phoebe 
is  no  lettice  for  your  lippes,  and  her  grapes  hang  so  high.'''' 
There  is  no  Audrey  in  the  novel.  Shakespeare  has  simply 
transferred  the  figurative  expression  from  Phebe  to  his  Audrey. 

N 


178  NOTES  [Act  V.  Sc.  ii 

54.  female  :  what  is  the  distinction  in  our  day  between  the 
words  female  and  woman  ?  Look  in  the  dictionaries  for  this 
and  for  the  meanings  of  bastinado  and  bandy,  61 ;  faction  and 
policy,  62. 

65.  God  rest  you  merry :  God  keep  you  merry,  according  to 
Rolfe.     It  is  a  regular  formula  for  leave-taking. 

66.  seeks  you :  can  the  singular  verb  be  justified  in  this 
place  ?    To  whom  does  Corin  address  his  remark  ? 

Scene  II 

This  scene,  like  the  first  of  Act  V,  offers  little  that  is  diffi- 
cult of  interpretation.  A  few  words  are  used  in  peculiar  senses, 
the  grammar  is  in  one  or  two  instances  slipshod  if  judged  by 
standards  of  to-day,  and  there  is  a  somewhat  puzzling  allusion 
to  Irish  wolves.  Except  for  these  points,  the  student  will  have 
no  difficulty  with  the  linguistic  side  of  the  scene.  From  the  lit- 
erary and  rhetorical  sides  also  the  scene  is  so  free  from  obscuri- 
ties in  aim  and  in  construction  that  one  can  enter  into  the  spirit 
of  the  author  without  difficulty.  The  object  of  Scene  2  is  evi- 
dently to  raise  the  hearer's  attention  to  the  height  of  expectancy 
before  the  final  unravelling  of  the  plot  in  Scene  4,  the  third 
scene  being  separated  from  the  second  merely  for  the  purpose 
of  keeping  the  farcical  love  story  of  Audrey  and  Touchstone 
somewhat  distinct  from  the  love-making  of  the  other  couples. 
The  rhetorical  features  of  greatest  interest  are  the  merry  repeti- 
tions, by  the  different  lovers,  of  the  same  phrases,  one 
after  another,  in  lines  90-112  ;  and  the  summarizing  speech 
of  Rosalind  toward  the  end  of  the  scene,  where  she  prepares 
the  way  for  the  nuptials  oi  the  morrow. 


A.CT  V.  Sc.  ii.]  NOTES  179 

I.  so  little  acquaintance  :  Orlando's  speech  may  be  consid- 
ered in  the  nature  of  an  apology  by  the  dramatist  for  the  sudden 
and  unaccountable  wooing  and  winning  of  Celia  by  Oliver. 
Reference  is  made,  in  the  Introduction,  to  Shakespeare's  de- 
parture in  this  respect  from  his  original,  by  not  inserting  the 
incident  of  Saladyne's  rescue  of  Aliena.  Still,  though  the 
passion  of  Celia  seems  hasty,  can  it  not  be  matched  almost 
daily  by  items  in  the  soberest  of  metropolitan  journals  or  coun- 
try newspapers  ? 

5.  the  giddiness  of  it :  challenged  in  the  novel  about  the  pre- 
cipitancy of  his  love-making,  Saladyne  says  bluntly,  "Let  this 
suffice  for  a  country  wooing.  Saladyne  loves  Aliena  and  none 
but  Aliena." 

II.  my  father's  house  :  Oliver  is  naturally  self-important. 
-He  has  had  the  control  of  his  father's  property,  but  has  been 

unjustly  holding  back  some  of  Orlando's  revenues.  Neverthe- 
less, he  adopts  the  high-and-mighty  air,  and  speaks  of  Ms  father 
and  of  "old  Sir  Rowland."  Even  after  his  conversion,  he 
shows  objectionable  traits  of  character.  What  can  be  said, 
however,  in  his  favor  ? 

16.  contented:  what  is  gained  by  the  slipping  in  of  this 
adjective  ?  Would  it  have  been  just  as  well  for  Orlando  to  say 
merely  that  he  would  invite  the  Duke  and  his  followers  ? 

20.  God  save  you,  brother  :  compare  V,  1,  65.  Is  there  any 
special  significance  in  the  use  of  the  terms  brother  and  sister  in 
lines  20  and  21  ? 

34.  thrasonical  brag  :  Thraso  was  a  bragging  soldier  in  Ter- 
ence's Eunucluis,  The  adjective  thrasonical,  therefore,  which 
was  early  introduced  into  our  language,  means   vainglorious. 


180  KOTES  [Act  V.  Sc.  il 

given  to  bragging  or  boasting.  The  well-known  "brag"  oi 
Caesar  to  which  Rosalind  refers  is,  in  the  Latin,  Feni,  vidi^ 
vici. 

47.  nuptial:  nuptials.  Compare  "year,"  line  65.  See  dic- 
tionary for  incontinent,  42  ;  wrath,  44  ;  conceit,  69 ;  grace, 
63  ;  conversed,  65 ;  gesture,  69  ;  and  dearly,  line  77. 

65.  a  magician :  compare  Ganimede's  statement  to  Rosader 
(Orlando),  "Tush,  be  of  good  cheare,  man;  I  have  a  friend 
that  is  deeply  experienst  in  Necromancy  and  Magicke ;  what 
art  can  do  shall  be  acted  for  thine  advantage  :  I  will  cause  him 
to  bring  in  Rosalynde,  if  either  France  or  any  bordring  Na- 
tion harbour  her ;  and  upon  that  take  the  faith  of  a  yoong 
shepheard." 

82,    comes  :  see  note  on  I,  2,  124. 

100.  fantasy:  defined  by  one  of  the  editors,  "Fancy  or 
imagination,  with  its  unaccountable  anticipations  and  appre- 
hensions, as  opposed  to  the  calculations  of  reason."  See  the 
same  word  in  II,  4,  31.     Is  it  used  there  in  the  same  sense  ? 

119.  Irish  wolves:  compare  Irish  rat,  III,  2,  187.  Furness 
comments  thus:  "The  clue  to  this  allusion  is  probably  lost. 
There  were  wolves  in  England  which  presumably  bayed  against 
the  moon  quite  as  monotonously  or  dismally  as  in  Ireland." 
If  one  may  venture  a  suggestion  where  Dr.  Furness  and  others 
are  at  sea,  this  explanation  may  be  offered.  Probably  no  more 
significance  attaches  to  the  word  Irish  than  that  Shakespeare 
thought  it  would  be  something  of  a  joke  again  to  poke  fun  at 
Ireland  and  the  Irish,  as  he  did  in  III,  2,  187.  In  the  Lodge 
story  the  reference  is  not  to  Irish  wolves,  but  to  wolves  of 
Syria.     Ganimede  said  to  Montanus :  "I  tell  thee,  Montanus, 


Act  V.  Sc.  iii.]  NOTES  181 

in  courting  Phoebe,  thou  barkest  with  the  "Wolves  of  Syria 
against  the  Moone." 

123.  if  ever  I  marry:  the  corresponding  thought  in  Bosa- 
lynde  is  :  "  I  wil  never  marry  myself e  to  woman  but  unto  thy 
selfe." 

124.  be  married  to-morrow:  is  she  actually  married  next 
day  in  the  play  itself  ? 

SCEXE    III 

4.  dishonest  desire :  Murray  gives  as  one  meaning  of  dishon- 
est "unchaste,  lewd,  filthy."  Compare  honest,  I,  2,  41,  and 
III,  3,  26,  in  the  sense  of  "chaste"  ;  and  honesty,  III,  3,  35, 
which  has  the  meaning  of  "chastity."  The  words  "to  be  a 
woman  of  the  world"  are  equivalent  to  "to  be  a  married 
woman."  Audrey  means,  then,  that  she  hopes  that  it  is  no 
immodest  desire  to  wish  to  be  married  to  Touchstone. 

6.  pages:  why  these  "pages"  happen  to  pass  along  at  this 
point  would  be  puzzling  if  the  plot  were  the  main  thing  in 
A.  r.  L.  The  song  of  the  pages  has  nothing  to  do  directly  with 
the  action  of  the  play.  Yet  indirectly  this  musical  scene  pre- 
pares the  way  for  the  wedding  festivity  suggested  in  Touch- 
stone's first  speech,  when  he  says  merrily  to  Audrey  — not  in 
order  to  give  her  information  for  the  first  time,  but  in  order  to 
express  his  happiness  at  the  thought  — that  next  day  is  to  be 
their  joyful  wedding  day. 

11.  clap  into  't  roundly:  Murray  quotes  this  passage  under 
the  word  clap:  "To  enter  with  alacrity  and  briskness  upon 
anything;  to  strike  into." 

13.   the  only  prologues :  only  the  prologues. 


182  NOTES  [Act  V.  Sc.  iy. 

16.  two  gipsies  :  it  is  not  necessary  to  search  for  a  remote 
allusion  here.  The  reference  to  two  gipsies  on  one  horse  is 
merely  a  chance  comparison  that  happened  to  occur  to  the 
mind  of  the  care-free  page. 

20.  ring  time  :  liow  does  this  bear  on  what  Touchstone  and 
Audrey  had  been  talking  about  ?  Do  you  think  that  as  the 
pages  approached  they  overheard  the  conversation  between 
Audrey  and  Touchstone  ?  The  folio  edition  has  "  rang  time," 
the  meaning  of  which  is  not  clear. 

33.  the  prime:  compare  Lodge,  "  Such,  my  f aire  shepheard- 
esse,  as  disdaine  in  youth  desire  in  age,  and  then  are  they  hated 
in  winter,  that  might  have  been  loved  in  the  prime.''''  To  what 
season  of  the  year  does  "  prime  "  refer  ? 

36.  matter:  sense,  substance.     Compare  II,  1,  68. 

40.  yes :  Touchstone's  bantering  attitude  toward  the  singers 
is  characteristic.  He  is  always  on  the  outlook  for  an  opportu- 
nity to  pervert  to  different  senses  the  words  of  those  with  whom 
he  converses.  In  this  case  he  grants  that  the  pages  did  not  lose 
their  time  or  tune,  but  maintains  that  their  voices  are  untune- 
able.  I.e.,  discordant,  and  that  their  song  was  "  foolish,"  so  that 
he  and  Audrey  lost  their  time,  i.e.,  wasted  their  time  in  listen- 
ing to  the  song. 

Scene  IV 

4.  fear  they  hope  :  a  dozen  editors  quoted  by  Fumess  have 
paraphrased  this  passage  in  about  the  same  way ;  turn  to  the 
Variorum  and  take  your  choice.  "White  thinks  that  apology  is 
necessary  for  offering  "  even  a  paraphrastic  explanation"  of  so 
simple  a  passage.     He  then  goes  on  to  paraphrase  :  "  As  those 


Act  V.  Sc.  iv.]  NOTES  183 

who  are  apprehensive  that  they  are  deceiving  themselves  by  in- 
dulging  a  secret  hope,  although  they  know  they  fear  the  issue." 

5.  compact :  note  accent.  Tell  in  your  own  words  the  agree- 
ment which  Rosalind  carefully  insists  on. 

18.  even:  compare  line  25.  What  does  "even"  in  this 
scene  mean  ? 

21.  keep  your  word  :  the  folio  reads  "keep  you  your  word." 
Why  is  it  advisable  to  cut  out  the  "you  "  as  Pope  did  ? 

22.  to  wed :  observe  the  break  in  construction.  Instead  of 
"  to  wed,"  what  would  you  write  in  prose  to  make  a  good  sen- 
tence ? 

24.  from  hence :  if  you  have  been  told  that  "  hence " 
neans  "from  here,"  how  can  you  justify  Shakespeare's /rom 
hence  9 

27.  lively :  define  this  word,  and  desperate,  32 ;  toward, 
35;  purgation,  44;  dulcet,  68;  nominate,  92;  Atone,  116; 
Addressed,  162  ;  power,  162 ;  conduct,  163 ;  shrewd,  179 ; 
pompous,  188  ;  convertites,  190. 

40.  Good  my  lord :  the  variable  position  of  the  adjective  and 
the  pronoun  in  such  expressions  is  plainly  seen  by  a  comparison 
of  this  line  with  line  30,     See  also  note  on  I,  1,  2. 

49.  like  to  have  fought:  this  same  locution  is  heard  now 
occasionally  in  the  expression  which  is  generally  considered  a 
mark  of  "  country  "  speech,  "  I  like  to  have  died,"  i.e.,  I  was 
on  the  point  of  dying,  it  seemed  likely  that  I  should  die. 

62.  honesty :  compare  note  on  V,  3,  4. 

63.  your  pearl:  again  notice  a  touch  of  diction  perfectly 
familiar  at  the  present  time  and  often  felt  by  the  person  using 
it  as  distinctly   of  nineteenth   century  origin.    Touchstone's 


184  NOTES  [Act  V.  Sc.  iv. 

your  does  not  imply  that  the  Duke  owns  the  pearl  in  a  foul 
oyster.  The  word  your  in  this  colloquialism  is  equivalent  to  an. 
Compare  line  107.  Might  "your"  in  line  12  of  the  fourth 
scene  of  Act  III  be  a  similar  use  ? 

67.  foors  bolt:  a  reference  to  the  adage,  "A  fool's  bolt  is 
soon  shot." 

68.  dulcet  diseases  :  one  critic  suggests  that  perhaps  Touch- 
stone calls  a  proverb  a  disease,  thinking  that  proverbial  sayings 
are  the  surfeiting  diseases  of  conversation.  One  meaning  of 
disease  given  by  Murray  is  "discomfort,  annoyance." 

91.  measured  swords:  duels  were  always  preceded  by  this 
ceremony,  so  that  neither  duelist  might  have  an  unfair  advan- 
tage of  the  other  in  length  and  size  of  weapon.  "Uliy  is 
space  given  at  this  interesting  point  in  the  action  to  mere 
verbal  ingenuity  oil  Touchstone's  part  as  Jaques  spurs  him 
on? 

94.  by  the  book  :  probably  a  reference  to  a  book  on  duelling 
by  Yincentio  Saviolo,  printed  in  1594 :  Vincentio  Saviolo  his 
Practise.  In  two  bookes.  The  first  intreating  the  use  of  the 
Bapier  and  Dagger.  The  second,  of  Honor  and  honorable 
Quarrels.  There  is  in  the  second  book  "  A  discourse  most 
necessarie  for  all  Gentlemen  that  have  in  regarde  their  honors 
touching  the  giving  and  receiving  of  the  Lie."  A  chapter  re- 
garding " conditionall  Lyes"  corresponds  with  Touchstone's 
remarks  about  the  "  Lie  with  circumstance." 

95.  books  for  good  manners :  several  such  books  were  cur- 
rent at  the  time  of  the  composition  of  the  play.  Possibly  the 
one  which  Shakespeare  had  in  mind  was  that  printed  in  Lon- 
don in  1554,  and  entitled,  A  lytle  Booke  of  Good  Maners  for 


Act  V.  Sc.  iv.]  NOTES  185 

Chyldren  loith  interpritation  into  the  vulgare  Englysshe  tongue 
by  B.  Whittinton,  Poet  Laureat. 

122.  I  give  myself :  several  details  regarding  the  dress  of 
Rosalind  on  this  occasion  are  given  in  two  quotations  from 
Lodge  : 

"  Ganimede  (who  then  ment  to  discover  herself  before  her 
father)  had  made  her  a  goune  of  green,  and  a  kirtle  of  the 
finest  sendal,  in  such  sort  that  she  seemed  some  heavenly- 
Nymph  harboured  in  Country  attire." 

"  In  went  Ganimede  and  drest  her  self  in  womans  attire,  hav- 
ing on  a  goune  of  greene,  with  kirtle  of  rich  sendal,  so  quaint 
that  she  seemed  Diana  triumphing  in  the  Forrest :  upon  the 
head  she  wore  a  chaplet  of  Roses,  which  gave  her  such  a  grace, 
that  she  looked  like  Flora  pearkt  in  the  pride  of  all  her  floures." 

These  extracts  from  the  novel  might  furnish  hints  to  actresses 
who  essay  the  part  of  Rosalind  to-day. 

127.  my  love  adieu  :  again  notice  the  fuller  details  in  Lodge, 
"Phoebe,  being  a  bidden  guest,  made  her  self  as  gorgious  as 
might  be  to  please  the  eye  of  Ganimede  ;  and  Montanus  suted 
himself  with  the  cost  of  many  of  his  flocks  to  be  against  that 
day  :  for  then  was  Ganimed  to  give  Phoebe  an  answer  of  her 
loves,  and  Montanus  either  to  heare  the  doome  of  his  miserie, 
or  the  censure  of  his  happinesse."  Observe,  by  the  way,  the 
varying  forms  in  which  the  word  Ganimede  appears.  Spelling 
was  unsettled  in  the  sixteenth  century  ;  the  same  word  was 
sometimes  spelled  in  half  a  dozen  different  ways.  Exact  lexi- 
cography was  then  undeveloped. 

143.  wedlock-hymn  :  the  marriage  is  not  actually  solemnized 
in  the  play.     On  the  other  hand,  in  the  novel  the  ceremony  i* 


186  NOTES  [Act  V.  Sc.  iv. 

completed  :  "  "While  every  one  was  amazed  with  these  Comicall 
eventes  [the  discovery  by  Eosader  that  Ganimede  was  Rosalynde, 
by  Montanus  that  Phoebe  would  marry  him,  and  by  Saladyne 
that  Aliena  was  Alinda,  daughter  of  the  usurping  king],  Coridon 
came  skipping  in,  and  told  them  that  the  priest  was  at  Church, 
and  tarried  for  their  coming.  With  that  Gerismond  led  the 
way,  and  the  rest  followed,  where  to  the  admiration  of  all 
the  country  swains  in  Arden,  their  marriages  were  solemnly 
solemnized.'''' 

150.  High  wedlock:  the  line  means,  then  let  marriage  be 
highly  honored. 

154.  Even  daughter:  paraphrased,  "I  address  you  not  as 
niece  merely,  but  as  daughter^  since  you  are  welcome  in  no  less 
degree  than  if  you  were  my  daughter." 

156.  fancy :  love. 

158.  second  son  :  what  does  the  presence  in  the  play  of  two 
characters  named  Jaques  probably  indicate  regarding  the 
method  in  the  composition  of  A.  Y.  L.  f  Fernandine,  the 
scholar  brother  of  Lodge's  novel,  interrupts  the  wedding  feast, 
telling  of  a  battle  imminent  between  twelve  peers  of  Geris- 
mond and  the  usurping  Torismond.  Then  the  author  relates 
tersely,  "To  be  short,  the  Peers  were  conquerors,  Torismond's 
army  put  to  flight,  and  himself  slain  in  battaile.''^  After  his 
restoration  to  the  kingdom,  Gerismond  made  Fernandine  his 
principal  secretary. 

173.  offer'st  fairly:  that  is,  makest  a  good  contribution. 
How  did  he  contribute  a  "potent  dukedom"  to  Orlando? 
Who  was  withholding  Oliver's  lands  ? 

178.    every  :  every  one.     Compare  "any  else,"  I,  2,  149. 


Epilogue]  NOTES  187 

179.    shrewd  :  bitter. 
181.    states:  estates. 

192.  You  to  your  former  honor:   we  should  write,   "I  be- 
queath your  former  honor  to  you,"  etc. 

193.  deserves :  should  the  verb  be  singular  or  plural  ? 

198.    So,  to  your  pleasures  :  Adam  also  receives  a  reward  in 
the  novel ;  he  becomes  captain  of  the  king's  guard. 


EPILOGUE 

4.  no  bush :  it  was  an  old  custom  to  indicate  a  wine  room  by 
a  green  growing  bush  outside  the  door. 

19.  If  I  were  a  woman  :  by  reference  to  what  is  said  about 
the  stage  in  Shakespeare's  time  (p.  xxxiii),  one  can  see  the  idea 
in  this  "If  I  were."  Rosalind,  to  be  sure,  was  now  in  her 
wedding  garments,  —  a  beautiful  maiden,  —  but  in  the  age  of 
Shakespeare  no  women  appeared  on  the  stage  to  take  any  part. 
One  of  the  first  efforts  to  have  women  take  parts  on  the  stage 
was  in  1629,  when  the  attempt  was  characterized  by  a  writer  of 
the  day  as  "graceless,  impudent,  shameful,  and  unworaanish." 
It  took  a  good  deal  of  time  to  overcome  the  prejudice  against 
the  appearance  of  women  actors. 


INDEX   TO   NOTES 


The  references  in  this  Index  are  to  pages 


A  worthy  fool,  148. 

Adam's  reward,  187. 

Alas,  131. 

Aliena,  136. 

alone,  127. 

ambles  withal,  162. 

an,  170. 

antique,  141. 

any  else,  131. 

argument,  151. 

Art     of    the    dramatist:     "be- 
queathed,"   123;    "falling    in 
love,"  128 ;  "  odds  in  the  man," 
132;    "strong  a  liking,"   135; 
"them,"    138;     "people  love 
you,"    140;      "weary,"     141 
"cheerly,"    and    "he,"     147 
'•  Not    see    him    since,"    151 
"I'll  sleep,"  and  "killed  the 
deer,"  173;    "my  counterfeit- 
ing," 177;  "so  little  acquaint- 
ance,"    179;     "pages,"     181; 
"yes,"  182. 

at  first  sight,  168. 

Atalanta's  better  part,  157. 

Atalanta's  heels,  162. 

Ay,  171. 


Balance:    "in    affection,"    281; 

"for  I  have  none  to  lament," 

etc.,  132. 
banquet,  146. 
bay  of  Portugal,  172. 
be  married  to-morrow,  181. 
be  naught,  124. 
be  so,  142. 
bear  no  cross,  141. 
bear  this,  174. 
bear  with  me,  135. 
beast,  174. 
bequeathed,  123. 
better  world,  134. 
Biblical  references,  143,  146. 
big  round  tears,  137. 
bills  on  their  necks,  130. 
blank  verse,  170. 
blind  rascally  boy,  i.e.  Cupid,  173. 
blind  woman,  128. 
books  for  good  manners,  184. 
broken  music,  131. 
browner,  175. 
burden,  161. 
burn  the  lodging,  141. 
by  him  seal  up,  175. 
By  no  means,  sir,  163. 


180 


190 


INDEX  TO  NOTES 


by  the  book,  184. 
by  the  way,  163. 

calling,  165. 

cast  lips,  166. 

cave,  176. 

cheer  ly,  147. 

clap  into  't  roundly,  181. 

Classical      allusions:       "  blind 

woman,"  128;  "  Troilus,"  171. 
come  away,  128. 
compact,  183. 
compact  of  jars,  148. 
concave    as    a   covered    goblet, 

166. 
conned  them  out  of  ni!.'?;'';  161 . 
counsellors,  137 
counter,  148. 
cover,  145. 
Crosman,  165. 
Cupid,  135. 
Cymheline,  130. 

deifying,  162. 

Description  of  Rosalind :  "jewel," 

154;     "as    my    heart,"     161; 

"chestnut,"   166;     "not  very 

tall,"   and  "In  parcels,"  169; 

"  I  give  myself,"  185. 
deserve  well,  135. 
Dialect  Notes,  138. 
Diana  in  the  fountain,  172. 
dishonest  desire,  181. 
ducdame,  146. 
dulcet  diseases,  184. 


eats,  145. 

even,  183. 

every  =  everyone,  186. 

extent,  151. 

eyne,  174. 

falling  in  love,  128. 

fancy  =  love,  186. 

fantasy,  180. 

fare  thee  well,  133. 

fathom,  172. 

fear  they  hope,  182. 

feet  were  lame,  158. 

female,  178. 

first-born  of  Egypt,  146. 

First  Folio,  142,  183. 

foggy  south,  168. 

foolish  runaways,  139. 

fool's  bolt,  184. 

for  friends  to  meet,  160. 

for  your  love,  127. 

forest  of  Arden,  location  of,  126. 

fortune,  148. 

foul.  164. 

Foul  is  most  foul,  168. 

fruit,  149. 

Gargantua's  mouth,  161. 

gentle,  134,  143. 

gentleness,  149. 

Go  find  him  out,  150. 

Go  to,  172. 

God  buy  you,  170. 

God  rest  you  merry,  178. 

God  save  you,  brother,  179. 


INDEX  TO  NOTES 


191 


Good  my  complexion,  160. 

Goths,  163. 

Grammar  and  rhetoric :  "  than 
him,"  124;  "spoke,"  125;  "to 
stay,"  126;  "learn,"  "I,"  and 
"  ill-favoredly,"  128;  "de- 
crees," and  "  There  comes," 
129;  "any  else,"  131;  "known," 
and  "could  give  more,"  133; 
"  than  I,"  and  "  must  I,"  134; 
"am,"  136;  "Which,"  137; 
"that  gallant,"  138;  "him," 
142;  "that  they  call,"  145; 
"an  old  poor  man,"  150; 
"more  sounder,"  153;  "conned 
them  out  of  rings,"  161; 
"shall,"  and  "his,"  162; 
"that,"  163;  "who,"  166; 
"Falls,"  "Nor,"  and  "That 
can  do  hurt,"  167;  "had 
rather,"  170;  "  Leander,  he," 
171;  "fathom,"  172;  "that 
she  could,"  174;  "it,"  and 
"^\1ien  that,"  175;  "we  shall 
be  flouting, ' '  177 ;  ' '  seeks  you, ' ' 
178;  "comes,"  180;  "  the  only 
prologues,"  181;  "to  wed," 
"from  hence,"  "Good  my 
lord,"  and  "like  to  have 
fought,"  183;  "You  to  your 
former  honor,"  and  "de- 
serves," 187. 

grape,  177. 

great  reckoning,  164. 

greatness  of  my  word,  136. 


Have  with  you,  134. 

Helen's  cheek,  157. 

Hercules,  133. 

Here  comes,  153. 

High  =  highly,  186. 

his  reverence,  125. 

honesty,  143. 

humor,  152. 

Humor:  "by  mine  honor,"  129; 

"him,"  etc.,  142;  "Martext," 

165. 

I  must  speak,  161. 

icy  fang,  136. 

if  ever  I  marry,  181. 

If  I  were  a  woman,  187. 

ill-favoredly,  128. 

ill-roasted  egg,  153. 

in  affection,  128. 

in  Arden,  142. 

in  despite  of,  134, 146. 

In  lieu  of,  141. 

Inconsistencies :     *'  the    taller," 

lai;  "too  young,"  135, 
Irish  rat,  158. 
Irish  wolves,  180. 
Ivanhoe,  126, 130, 132, 166. 

jests,  134. 

jewel,  154. 

Jove  in  a  thatched  house,  163. 

Jove's  tree,  161. 

Judas's  hair,  165. 

Julius  CsBsar,  123,  148. 

Juno's  swans,  136. 


192 


INDEX  TO  NOTES 


kill  them  up,  137, 
Kluge  and  Lutz's  English  Ety- 
mology, 170. 

lands,  170. 

Langland's  Piers  Ploughman^ 
165. 

lay  hands,  125. 

learn,  128. 

leave  to  wander,  126. 

leer,  170. 

Lee's  Life  of  Shakespeare,  162. 

lioness,  175. 

List  of  words  to  be  defined  by 
reference  to  several  different 
dictionaries:  manage,  dearly, 
countenance,  hinds,  mines, 
orchard,  railed,  allottery,  fleet, 
device,  anatomize,  misprised, 
124;  coz,  wit,  taxation,  amaze, 
deceived,  mightily,  still,  suits, 
humorous,  128 ;  frantic,  purga- 
tion, likelihood,  remorse,  still, 
doom,  suit,  curtle-axe,  woo, 
135;  pasture,  cope,  137;  roynish, 
clown,  gentlewoman,  138;  fond, 
priser,  humorous,  use,  prac- 
tices, butchery,  caters,  140; 
graze,  mend,  feeder,  143;  un- 
couth, conceit,  desert,  147 ;  dial, 
poke,  remainder,  motley,  anat- 
omized, 148;  inland  bred, 
nurture,  waste,  effigies,  limned, 
149;  natural,  parlous,  in  re- 
.  spect  of,  perpend,  graff ,  medlar, 


List  of  words  {continued)  :  — 
virtue,  touches,  scrip,  whoop- 
ing, atomies,  burden,  se'nnight, 
cony,  kindled,  courtship,  taxed, 
point-device,  still,  merely,  153; 
atomies,  cicatrice,  capable  im- 
pressure,  bugle,  proper,  carlot, 
167;  censure,  170;  bastinado, 
bandy,  faction,  policy,  178; 
incontinent,  wrath,  conceit, 
grace,  conversed,  gesture, 
dearly,  180;  lively,  desperate, 
toward,  purgation,  dulcet, 
nominate,  atone,  addressed, 
power,  conduct,  shrewd,  pom- 
pous, convertites,  183. 

Lodge's  Rosalynde,  123,  125,  127, 
133,  135,  138,  139,  142,  144,  147, 
150,  153,  154,  157,  158,  167,  168, 
169,  171,  174,  175,  176,  177,  179, 
180,  181,  182,  185,  186,  187. 

look  but  in,  162. 

love-shaked,  163. 

Macbeth,  123,  130. 

magician,  180. 

make,  124. 

manage,  123. 

marketable,  129. 

Marlowe's    Hero    and  Leander, 

168. 
Martext,  165. 
matter,  182. 
Me  believe  it,  163. 
measured  swords,  184. 


INDEX  TO  NOTES 


193 


medlar,  157. 

Memorial    Theatre    Edition    of 

Shakespeare,  173. 
Merchant  of  Venice,  The,12>^,\bQ. 
merely,  163. 
merry,  148. 
merry  men,  126. 
mild  aspect,  174. 
misconstrues,  134. 
misused  our  sex,  172. 
modern  instances,  150. 
more  sounder,  153. 
morning  face,  150. 
much  Orlando,  174. 
my  father's  house,  179. 
my  verse,  152. 

napkin,  177. 

native  dwelling-place,  138. 

nature's  sale-work,  167. 

nanght,  152. 

Negatives:  "I  will  .  .  .  yet  give 

710  thousand  crowns  neither  " 

125;  "  No  more  do  yours,"  140; 

"Nor,"  167. 
never  schooled,  127. 
new  court,  126. 
new  mistress's  brother,  153. 
nine  days,  158. 
")  beauty,  167. 

.  bush,  187. 
.lo  where,  147. 
not  a  word,  134. 
not  kill  a  fly,  171. 
note,  145. 


O  excellent  young  man,  133. 

o'  the  shoulder,  170. 

Objective   genitive:    "for  your 

love,"  127;  "Your,"  140. 
odds  in  the  man,  132. 
offer'st  fairly,  186. 
old  Frederick,  129. 
old  gentleman's  saying,  177. 
olive  trees,  175. 
omittance  is  no  quittance,  169. 
Orchard,  123. 
out  of  all  whooping,  160. 
Ovid's  Metamorphoses^  164. 
owe,  144. 

palm  tree,  158. 

parlous  state,  153. 

Peace,  143. 

penalty  of  Adam,  136. 

people  love  you,  140. 

phoenix,  174. 

point-device,  163. 

poor  a  thousand,  123. 

precious  jewel,  137. 

pretty  youth,  162, 170. 

prime,  182. 

princess,  138. 

Princess,  The,  151. 

prodigal  portion,  124, 

pulpiter,  158. 

Puns,  124,  129,  130,  134,  139,  141 

142,  148,  157,  161,  163,  166. 
push  him  out  of  doors,  151. 

rank,  129. 
religious  uncle,  162. 


194 


INDEX  TO  NOTES 


rest  damned,  153. 

right  butter-women's  rank,  156. 

right  painted  cloth,  161. 

ring  time,  182. 

ripe  sister,  175. 

Robin  Hood,  126. 

sad  brow  and  true  maid,  161. 

Sad  Lucretia's  modesty,  158. 

savage,  149. 

Saviolo,  184. 

Scansion,  134,  183. 

scrip  and  scrippage,  158. 

second  son,  186. 

shrewd,  187. 

shrunk  shank,  150. 

similes,  137. 

Sirs,  145. 

so,  125. 

So,  to  your  pleasures,  187. 

South-sea  of  discovery,  160. 

Specific  language :  "brawls,"and 

"melancholy     Jaques,"     137; 

"slink,"      161;      "cheek     of 

cream,"     167;      "contented," 

179. 
stanzos,  144. 
states,  187. 
Subjunctive,  134, 147. 
suddenly,  139. 

that,  163. 

that  gallant,  138. 

that  they  call,  145. 

the  gods  give  us  joy,  165. 


the  only  prologues,  181. 

the  taller,  134. 

think  against  thee,  151. 

thousand  crowns,  125. 

thrasonical  brag,  179. 

thrice-crowned,  152. 

Twice-told  Tales,  Pocket  Classics 
series,  157. 

Time  element :  "  in  the  morn- 
ing," 138 ;  "  all  this  while,"  170 ; 
* '  two  hours, "  172 ;  "  Within  an 
hour,"  175. 

to  look  you,  145. 

to  stay,  126. 

too  much  of  a  good  thing,  171. 

too  young  in  this,  125. 

Troilus,  171. 

tuft  of  olives,  168. 

'Twill  be,  125. 

two  gipsies,  182. 

Under  an  oak,  175. 
unexpressive  she,  152. 
unquestionable  spirit,  163. 

Vicar  of  Wakefield^  The,  141. 
villain,  124. 

way  to  heaven,  143. 

weak  evils,  150. 

weary  very,  emended  by  Rolfe 

149. 
Wearying  thy  hearer,  142. 
wedlock-hymn,  185. 
week,  141. 
WeU  said,  129. 


INDEX  TO  NOTES 


195 


What,  127,  143,  166. 
What-ye-call't,  165. 
Whittintou,  185. 
"Women  on  the  stage,  187. 


You  are  a  fool,  136. 

your  father's  rememhrance,  125. 

your  pearl,  183. 

youthful  wages,  141. 


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